Cardistry Crash Course - Cuts, Creating, and Community

1. INTRO: If you here, thank you for looking at my course. Load spoke car shape, which is an art form for the hobby that has probably taken over my life since I was like nine or ten. You'll be learning loads of moves, some basics as well as some other rules from some other people. You also have an interview as well as some pointers on the creative process as well as the community. So let's get started. 2. THE BASICS : So welcome to my car shrink course. First, we'll be learning some of the basic moves. Okay? So grab your deck of cards. These moves are the most foundational moves in carved street and will serve as a great building point for the rest of the moves that you create and learn. So without further ado, let's get started. So now it's time for me to teach you all of the basic rules, starting with the basic move. Surely x looks something like this. It's a two packet, one-handed cuts. One of the first movies I've ever learned in step one is to hold your deck and straddle grip. This means that your thumb is on the left side. The indexes on the top, the middle, and ring on the right, and your pinky is on the bottom when it usually would be on the side. This might be a stretch, but it's really important to learn how to hold the deck like this. And then when you're tilting it doesn't go down. The first step is to take your thumb and then get half of the deck. You can see over here that it's getting supported by my thumb, middle, and sometimes the ring. So just practice this motion for a bit. Just picking up half the deck. Then what you wanna do is we want to take your index finger and you want to push the bottom pack. Okay? So you're gonna put it towards the upper right corner, over here, the non hip corner. And then you're going to push it up. You're going to push it up all the way until this packet clears the index packet. Like that. You can open it and close it. So after you push it, you're going to let this packet slide down. And then you're going to take your index finger and you're going to take it back out. I said allow for this structure to open up this half the deck. Push release index. This is the Charlene cut. Natural evolution to the show. They had cut as the rough cut, which looks something like that, where you're spinning the packet. So you're going to start the same. Open up half the deck, put instead of the middle and ring, you're gonna put your index here. Then you're going to turn this packet like this. Like this. This is going to naturally make the base packet go in front a bit more. After that, you're going to hold the index, this packet with your index and your ring. And then this will make your ring naturally want to spin the packet. Then l n, just like how shall they ends? So normal, Charlene eye-opener. Put your index over here, which naturally pushes this packet to the back, grab it. And the way you're going to do is you're gonna spin it and then take your ring finger connected over here. Put your thumb back, and then you're going to spin it like this. And then end in Charlie. Without the Charlene, it looks something like this or like this with the ring finger. You can also do with the middle finger. The ring finger is a bit easier. Next would be the swing and civil cut. This is your first introduction to two-handed cuts. So that's pretty nice. You're going to hold your deck and something called Biddle grip. You're gonna have your thumb on the short edge and then your middle and ring on the other short edge like this. Then you're going to take your index and a breakup packet like that. Small packet preferably. And then you're going to take your left hand. And then you're going to clip this packet in-between the fleshy part of your thumb and your index. Going to clip it. And then you're going to release pressure and put it in your left hand straddled grip. Can do this over and over again. So you can create multiple swing cuts. Just to one. Then there'll be the swivel. So over here, you're going to do the same thing. Break with your index in Biddle grip and you're going to either take your index or thumb. And then you're going to bring the packet over. You're going to connect the index to the other index. And then you're going to make it swivel around the right-hand index into the other hand. Then you can do with your thumb, having your right thumb connect with your left thumb. And then you can make this nice continuous motion. Goes back-and-forth. Next, let's go into the ribbon spread, which looks something like this. You know, very commonly seen. Again, you'll hold this in Biddle grip and then you're going to put the card down with your index on the side, on the left-hand side. And then you're going to start to draw out the cards. You may want to play around with the pressure. Because sometimes it'll be easier to apply a lot of pressure to make an even spread. Or sometimes it'd be easier to, you know, have a looser grip nor to make it easier over here. And then start releasing pressure as you bring the cards over it. Next we'll be flicker. This kind of Larry type motion over here. So take your card and your right hand. You're going to hold it in what's called a mechanic's grip, which is your thumb and your index, and then your other three fingers on the opposing side of your thumb. Then you're going to simply put your index on the bottom. And then you're gonna kinda flick it out. So this flicking out motion means that you're going to release with your ring and index. And then you're going to clip this cart in-between your index and middle, kinda like this. So without the other fingers will look like this. After this flicking motion. What you're gonna do is you're going to twist, going to twist your index finger and your middle finger like this. Very simple motion. You're just taking your middle finger and putting it on top of your index finger to create this flickering motion. It's important, it's very important for this move that you're actually turning your hand as you're doing it. So over here you flick the cart and then as you twist the middle finger onto the index finger, you're turning your head. And then in order to close it, you bring the index finger back on top of the middle finger, grab it with your thumb and then flip it over. As simple as that. Remember, mechanics, flip, twist, turn your hand, this back, grab it with them. Next would be the classic spring and dribble. The spring very commonly seen in many movies. It's a very, very popular car. She moved into mainstream and the dribble. So the spring can be done like this. Take your thumb and middle and index on opposite corners, the non PIP corners, then you're going to start to bend them. Okay, this is going to take a lot of strength at first, but with loads of practice, you'll be able to build enough muscle and muscle memory in order to bend it like this. Then you're going to start to release pressure on sort of the bottom parts and catch it in your left hand. You're going to squeeze it so that it shoots onto the other hand. Next would be the Dribble. You wouldn't need to hold it in Biddle grip. But this time make sure that your your thumb, your middle, and your ring or more towards the corner. And instead of the index being on top, the index is going to be directly on the side. Then you're going to want to do with this kind of motion. You want a referral. Cards, kinda gonna riffle the cards by bringing the thumb from the bottom all the way to the top. Now, you can just do this with your hand on top. That you're going to drop the cards in a sequential fashion. That's the line I get to basically dribble. Again. Finger, thumb all the way through the bottom to the top as to allow for the rest of the credit to dribble. Then we have civil, which is this move crave by Chris Kenner and 99 to publishing his book, totally out of control. This move is actually 31 years old and actually created the two packet cut genre, or the two-handed cut genre, which is very popular nowadays. Okay, so first, you have to go into the script which is commonly known as civil grip. Where you're gonna do is you're going to pick up a packet in your bid right-hand Biddle grip. And then with your thumb, you're going to have a packet that connects your middle, your thumb, and your index finger, kinda like this. Biddle. And then thumb and index the Z formation. You want to practice this. So then you can actually open this all at one time instead of this. And this. Next, you want to open into z and then break another packet as if you're doing a swing cut. This will make 4-pack. Okay. So you want to get this Biddle thumb index, swing code. Next. You want to bring this hand back. You want to turn this hand, your right hand back. So then you're going to take your left hand, thumb and middle. And then you're going to grab the ace of clubs packet. Well, in my case, the ace of clubs packet. After you grab it, you're going to bring these two packets out. You're going to basically strip this packet out. And then you're going to bring this back, bring the two right hand packets out. I'll still connected to the index and thumb. Then you're going to relinquish the middle finger. And then you're going to make it only connect with your thumb and index. So now it looks something like this. So again, Z, swing, bring the pack over here, thumb and middle, shift the packet out. And then thumb and index, your middle is gone. And then this is the next step. You're going to take your pinkie ring, middle of your right hand. And then you're going to grab the packet kind of like this with their middle on one side, the ring on the short side, and then your pinky on the other alongside. The script is kinda weird. It's kinda complex. It's called like a straddle grip kind of thing. And the short edge. And it's rather uncomfortable when you first started do it, but with more practice, you'll be able to get more comfortable with it. So pinkie, middle and ring over here, getting this eight of spades packet, you're going to strip it back out again. So now you're kind of z plus the straddle groups. The final step is to do this hand going into the back motion again. And then you're going to grab and you're going to separate another packet from this seven of clubs packet. So you're going to break off some cards and then you're going to bring it back out. And then you're going to extend into the five phases of civil display. Then you're going to close. That was, Let's start again. So Biddle, thumb and index. Make sure it's all one move. Then, sprinkle. Now we've gotta make this all one. Then bring this hand over. And then with your left hand, thumb and middle, grab king of diamonds packet. Strip that packet out, and then bring these forward. Get rid of the middle finger, thumb and index. With the middle on the long edge, the ring on the shortage, and the pinky on the other long edge. In this kind of Strouhal, get Strouhal grip, bring this packet out. Like that. Bring the handover, break some more cards, bring it out again. And then extend. This is Civil Code. So make sure to always practice these moves there, the foundations of cursory. And I'll see you in the next video. 3. COMBOS: After learning the basics, I believe that every beginner should learn how to combos, combos, or quintessential part of the car Shri, a style within itself which was first popularized by Danish cars Tobias 11, and Oliver. So guard. They're usually seen as a combination of small movements in order to create a bigger sequence. Usually the small movements only involve one hand though. You can have packet combos which involve both hands. It's important that what you're doing in each hand is complementing each other as to create this longer, bigger, grander sequence. With this down, Let's go through three combo moves that you can learn, along with a bigger combo that you can do by stringing together these three columns. Now, let's learn the combo moves Pinto, which looks like this. And then ATM. The non-dominant hand. However, in the dominant hand you'll be learning. And you'll be matching these all in a long sequence. So let's start with pinto. So take a bit of the deck in your right hand in Biddle grip with their thumb on the short edge, the index on the surface and the middle on the other short edge. Then what you're gonna do is you're going to straighten your index. You're going to straighten it so that there's a clearing so that you can pinch this packet and between the index and middle. So you can see I'm straining it. So then I can put it over here. Then you're going to swap the packet in-between the two fingers and you're going to do two things at once. You're going to curl your fingers in like this. Both of your fingers and both your index and middle, curl them in as you push the packet up with your thumb. So curling it in and pushing them. When these two are done together, this happens. You can see that the packet is diagonal in-between the index and middle. However, when you curl it straight, then what you're going to do next is you're going to do this. You're going to put your middle on top of your index. You're going to twist your fingers. As you put your hand face down. This will allow for great opening for your thumb to connect back on the other short edge as your middle finger moves out. In order to hold it back into Biddle grip, then your index finger. And so just taking it out like that, you're going to, you're going to rotate the packet with your index finger as it goes back into its original position. Let's go through that again. So strain know your index finger, slot it in-between and then do two things at once. Curl your fingers and push it up. Just like that. Then twist your middle finger on top of your index finger. And then you're going to connect this packet with your thumb again, with your middle on the other side. And then rotate with your index finger. Sad faces up again. So it looks something like this. Now let's learn ATM, which looks something like this. Oliver, also by older so guard. Well you're gonna do is you're going to take the packet with their right hand, thumb, and middle finger. You're going to take your thumb, put it on the bottom right corner, and take your middle and put on the top left corner. Then you're going to put your index on the left lung edge. Then you're going to take your index and you're going to spend the packet all the way. Actually, not all the way, not straight, but so much so that it is perpendicular to the surface or to the floor, to the table. In my case, over here, long edge spins so it's perpendicular. And then you want to make sure that your hand is also directly perpendicular the table. Then you're going to put your index on the bottom right corner of the packet. Over here. As you do this, your ring finger will create a counter pressure and 0 strip off a card as you drag it down this edge. As you can see, this then dislodges a card off the middle finger, just like this. So going back into position, index, spin so it's perpendicular, goes on the bottom right and apply counter pressure with your ring as it drags a card down. After that, you're going to drag the card so much so that it pops and spins and falls down. Setup. Drag the card, and then make sure that it pops off. And then it dislodges off the thumb, allowing it to spin. So now we have these two common moves. You have Pinterest and we have ATM. Now, let's learn Rev two, which looks something like this. Doesn't look like much, but honestly, it's a very comfy mood to do and a great addition to your combos. So I'm going to start in a Shirley, and instead of closing it immediately, you're going to let it open and you're going to take your ring finger and put it over here. Then you're going to close it, essentially sandwiching your ring finger in-between the two packets. Then you want to take your middle finger and you want to put it on top of the top packet. This is gonna be pretty interesting as you twist your middle finger over, or you twist your ring finger over your middle finger. So then it allows the packet to automatically spit here, ring middle, and then twist over here. Now your ring fingers on top. Then you want to take your thumb and you want to contact on the long edge over here, and then take your ring finger off as you're essentially going to try to pinch this packet in between your thumb and middle, flips back over. After twisting your fingers, it's gonna kinda like try to do this with your middle, but you're not going to let it. You're just going to allow it to fall back down. So its square. This essentially acts as a flip. Over here. Surely a sandwich twist, pinch dropped. So now we can utilize all these three moves along with some of the basics in order to create a sequential combo. We're going to start by doing some swing cuts and then leaving enough to do pinto. You do pinch over here. And as you do that, you're going to do two. So it's going to look like this. As you can see, the flipping motion of Pinto compliments the also flipping motion of ref too. So you can see it's complimentary. This is why the combo works pretty well. So older. So thank this pinto, flip, flip. Then you're going to adjust this packet by contacting your index on the side and then your pinky on the other side, nor to allow for your thumb and middle to go into the ATM grip. As you do that, you're going to do a rough cut. Open it, keep it open as you ATM, as many cards as you want it in. Then you're going to close the combo. You can close it any way. You can simply roll the packet back onto the deck. Or you can openers Shirley and roll it back. Opener rather than roll it back. Anyway. That is how you can sequence a combo and then perform it. So again, pinto, as you do rough to adjust to the spin for ATM, as you do ever have. Shoot a couple of cards in and then close. That is a complete combo onto the next one. 4. STYLES : Now that you've learned a couple of moves and learn where to buy your decks. Let's learn the different styles of cars. So let's start with fading, which is styled, I'm pretty bad at. I typically don't do many fans. It's essentially manipulating the deck into a fan pattern or position or a circle to like a curved type of situation. So in the best fads and most iconic of car Shri is five and Vaud fan by Berger Carlson. With those being absolutely bank or moose, been here for many years. Riffle fan by Dimitri our Larry's also standout as it has been performed for many years and never ceases to amaze other spectators. Naoki OB fan, flipped back fan and smear fan are all staples within one hand and fanning. Now Okey-dokey creates this beautiful circle display. But the flip back fan is essentially you putting a packet and your hand and then flipping back in order to create a fan and the smear findings and simple one-handed families smear the cards. This kind of curved patterns. In terms of amazing fan creators, I definitely would recommend you to look at back cod Brian or beef DK2, ESTJ BLM. I'm pretty sure these people just break fat into a whole different level, applying them to cuts. And with amazing, amazing execution. These fans take hours and honestly years of practice. These people are just so good. Table work. So table work is defined as manipulating cards on the table in necessitates a table or actually any other surface in order to perform. This also encapsulates the whole spread genre because most of the time you're spraying the cards on the table. So the best Tim Wu's my opinion were made by Kevin whew. This Taiwanese Curtis does extremely creative. You should check out his video, ground floor and lowest enhance YouTube channel. Some amazing work such as Fujiwara effect, locomotive and Fontaine trials entry of 2020. I'm pretty sure besides moment moves, there's also tabled cuts. Some of them created by sub face pioneer of extremely complex packet cutting. But some of them using the surface, thus creating some of the most beautiful works ever. You can check these out in Fontane futures as polka dots section. A notable one would definitely be Kadoorie sphere by Lucas rebel due to how he used this particular table group in order to win the CCC's move to the year in 2019. Absolutely incredible Move. And honestly, absolutely incredible genre. Some of the best car history has been created through table work. Packet cutting. Simply. The deck is like one or both hands. Just means separating the deck into what you call packets with your different hands and then manipulating them. This is the style that I liked the most and I actually participate in the books. I have lacked diversity. I only make packet cuts. I think a great packet to first look at is definitely heritage, a classic within cursory released in 2019 by Chase Duncan. This one move basically defines a whole section within the Fontane futures video. Extremely beautiful five packets. Great movement also has been analyzed to a T. A great package cutter is Leo Flores amazing flow. He's able to make. His hand seems so comfy while he's manipulating, juggling six or five packets all at the same time. Surely beautiful work. My personal favorite is Oliver so Guard as well as many people's. He creates amazing packet cuts with a groundbreaking mechanics and amazing flow. Also, I think it's pretty nice to open and running cuts. Running cuts are basically cuts are continuous. So examples of this could be seen in small hours by anyone worldwide as well as fruit loops by trying shank Assyria, you can also do pay cutting with one hand. The best one hand pack of color is being Olof atoms with moves like pantheon, this gigantic five packet one-handed cuts. Well, so that's my daughter with his recent run in the lowest and hence singles. Yeah, it's a pretty expansive genre that has been here for many years. Squirrels twirls is defined as trolling the card between your fingers to create kind of a flurry motion. This was taught to you. Flicker. This is often used in combos as well as single cards. In terms of their genre as a whole, one thing that's really important is that smoothness gives the illusion of speed. The choppiness of a twirl may come to its detriment, even if it's performed quickly. That doesn't mean that even looks good. One of my favorite roses, chick, chick learned an SoC or scorecard Shri. One. I'd say Pioneer within the genre is to face Salvador Gonzalez. You can check out his work and his CCC videos. He creates these beautiful flaring moves with loads of single cards. He's definitely a pioneer in the genre, yeah, displays and structures. Okay, displays and instructors often used multiple packets are seeing carts to illustrate a type of display. Great example of this could be seen in parallax by Daniel Lin or even try forced by real coma. Just absolutely massive displays that required loads of setup. Halbert displays can also be implemented into packet cuts. They can be fused together. An example of this could be a spin Dr. by Nikolai or no, a classic example of a packet cut that turns into a display areas. So when it comes to aerials, they're usually moves where the cards go up in the air and are then maneuver in the air. They're usually birth from axiom, which is essentially cursory from 20 years ago, extreme card manipulation, as you can see over here. However, now it has really evolved into its own genre. Some of the most basic area moves include hot chocolate, which is simply just shooting a car into the other hand. Or even Ernie's go around which has one of the best packet areas at best and most versatile packet aerials. And finally, we have isolations. Isolations was created in 2010 video, I believe for GCC, it focuses on isolating a single card while other parts of the move are moving. E.g. over here, we have this card. I'm trying to isolate this card while the rest of it is moving. As I said, it started with Jaspers, Thanks, Albert. Then it evolved into what the card isolation. Isolation is within back because you can see in this one comes over as a child for gray card isolation routines and structure of amazing work. Anyway. So those are styles of clarity. You don't really have to pick one that you will be going through. Adolescence. 5. 3 TUTORIALS: So now that you've learned the basics, as well as some combos, let's go into moving some other moves within specific styles. I'll be teaching my own move wrap-around, which is a three pack and cut that I created many years ago. Sam Ko will be teaching his table move artificial wave machine over here, as well as groceries or Jason Chung, you'll be teaching his move. Surfing fan. Let's get right into it. So onto my move wrap-around, which looks something like this. This move was created for a long time ago, back in 2021, April, I think, just as quarantine started. So let's get right into it. So we'll start in Z group, which was mentioned before and the civil cut. Then we'll take the pinky of the left-hand and the thumb on the right hand and then grab the base package like that. Then with the top packet, you're going to clip it between your index and your middle. And then you're going to slide it. Okay? You're going to push and slide it. Push inside it, onto your middle and ring like this. And then you're going to connect it. So z, pinky and thumb. And then slide it onto your other hand. And then you're going to take this packet, the base packet, and you're going to thread it through the other two packets. So something that looks like this. Crossover the thumbs than with their right hand. You're going to take this packet, the three of hearts packet, with your, with the crutch of your thumb and with their index kinda like this, kinda curled around it. This is the wrapper on motion now where this summit index packet gets turned around and then connected with the index. So it'd be your index and thumb. So it looks something like this. Let's get into that motion a bit more. So here, index slide, cross your thumbs, grab it like this. Then you're going to bring this packet out. And then switch fingers. Basically, your index of your left is going to be put onto your thumb and then your thumb on your right is gonna be put on your index. And then after that you're going to take your index and your going to flare this packet out. Then you're going to take your thumb of the right hand and then kind of maneuver it and push it back into this kind of flat grid. Now, it should look like this with their thumb and index on this packet. And then kinda going to straddle group in the ace of spades packet. This like this. Switch fingers, wrap around, expand, use your thumb to maneuver it so it's flat. Kind of making it go around your middle. So that's flat again. And then you're going to have something like this. You're going to flip your right hand over as you drop this packet down. Something like this. And at the same time, you're going to kind of bring this packet like that. You're going to bring the pack under it. Turned out with your thumb and middle. So then you're holding it like this. Let me explain that better. Over here. Around your thumb and middle. Bring it back up. But this packet, put the packet down, slide it out. And then you're going to regroup it with some kind of a mechanic script but unphased down. Then you're going to take your thumb and index of your left hand. And then you're going to grab it. Like this. I'm going to take it out of this position. Kind of totally isolate with the right hand because the right hand is holding this packet. Now, you're going to take this grip and then you're going to elevate a more into your palm as you take your thumb and index and then bring this packet into a kind of Shirley a closer. You're going to bring it over here. Then finally, you're going to put this packet lengthwise or short or on the short side. And then you're going to let Dr. Going to let this packet drop. And vesicles are kind of a mouthful. It's going to die again. Z, thumb and pinky. A slight clip. Slide the packet over. You're going to cross the thumbs, going to grab this packet. Switch fingers over here. Some becomes index, index becomes thumb. Flared open. Take your thumb, maneuver it so it's flat around your other fingers, kinda like this. Put this packet down. As you change your grip of this packet. Take the two of clubs packet with your thumb and index extended out. Take a change the grip more deeper into your palm. Thumb and index. Bring it back out to a close packet. You put it back down, close this one, you close that one, and you're done. So at speed, it looks something like this. That's my rule of thumb. Wrap around onto artificial wave machine by Sam Ko. So This is the tutorial for other official wave machine by Sam Coty hue, which is me, my Move to start off. You preferably have met or something or some sort of men. It's harder to do the move. Like a straight straight up surface. You can still do it. But it's just harder. Yeah. So for me, I use the, the bottom of my Launchpad. So firstly, you're going to hold this position down the mat. And then you're going to split the day with your middle and your thumb. Then you're going to do the same on both sides with the two hands. So it looks like this. And you place it in down. And it should be standing on itself. And this is quite important as the home of you recall, requires you to let it stand on itself. So first step is split down like that, and then you split again and then put it down. Thank you that you're now going to Mountain pyramid shape type of thing. Now, even split from the middle. Like this, using the two thumbs. You're going to do it, they're split. And then as you split these two slits, and then you've got to transfer your thumb from holding, you got to transfer your thumb from holding this packet to the middle packet. So split, transfer. And then you're going to split again. But with your index and thumb, index is going to the middle of the mat and your thumb is going away from the middle of the mat. So it looks like this. And then do it on the both side. And then this is where the motion the main motion of the Move Counts. It goes like this. For Steve other transfer, your index and thumbs, the control, these four packets. So it makes like a pillar or motion, it's important to do simultaneously. So it will effect is better. If don't you see something like this you want to do at the same time. So it's like right there. And then you've got to transfer your control to the other four packets. And then going to the right. And I'll go into the left again. For the closer. You're going to go to the middle and vector the V-shape. And then this hand go to the left. This is my left hand, and go to the left. This is my right hand. I go to the right. So just away from the middle. And then you let go off your index. So those packet closes. Then you pick, pick up the very end packet by holding your index at the back and then your thumb at the front. Thanks so much fun. Pick it up like this. And then just push it to the middle. And so are the official way must see. Let's go. 6. CREATIVE PROCESS: Now that you've learned your fair share of moves, basics, combos, and some other moves. Let's see how you can create your own move. This is the creative process of very often talk to both subject between Curtis. Because at the end, we all want to create our own moose so that we could share own artistic intent and expression. Before we get into this, let's discuss some terminology. First, opener, so the word opener as a sequence of moves that opens up the position for the rest of them. Okay, Simple as that. You can see this a lot in z openers or variations of this are civil openers, or there's even some wonky openers, dad look very different. Then you go to the middle part of the move. This is the part of the move where most of the action occurs and where the ideas are further developed. The closer is a sequence of moves that leaves the move to end in a square root duck. So very simple over there in terms of utility moves or what I like to call mechanics. They are categorized as small moves with no opener are closer, which could be implemented into any bigger moves. And also moment moves are moves that focus on having a single big moment instead of a longer sequence of movements. This could be seen along the Fontane trials, some examples over here. Finally, grips. So grips I simply just the way that you hold the Dr. already hold the individual packets or cards with it a certain booth. So now that we've gotten through some of the terminology, let's go through how I would make some packet cuts because that's my style. So first thing I do is find the opener in terms of an opener, I would definitely start with something that's weird. Yeah, like a pretty bad definition, but something that is unusual, let's say. Okay, so e.g. for my move offset, I'm using this mechanic. This is a hinge between the pinky and thumb, which is not just unusual but pretty difficult. However, the size doing something possibly unusual. I'd also like to steal stuff or take inspiration from other people's openers. An example could be the offset opener again, which is actually a imitation of cod pause by Brilliant steeper, which is this amazing move over here. I really liked this back pedaling motion, so I really wanted to implement it into my own. So for the middle part, this is where things could go in many different directions. Personally, I like to go the most difficult route, the part that the route that seems the most wacky because those seem to be the best resolution. So the move for me, I personally like creating loads of structure in my moves. This could be done with flares and open ups within the move, e.g. in the move, you can see that it's a preclosed structure at first. And after that, it extends lot. Okay. Angles a space. As I slowly close, I really like using structure as well as space and layers in order to create loads of motion, which is why some eye moves. It looks pretty similar in terms of their structure. I'll personally, I definitely use a lot of spins and ribs as we call it, or revolution cuts, which we learned previously. Spins and rubs are a good way for me to get out of a difficult position. It doesn't just allow for good movement that allows for the fingers to adapt to the current situation. E.g. over here, going back to offset, I go into a spin packet over here so that I can pinch and then inside the car and then continue with the mood. Then we go to the closer. One way that I like to close is by trying to look at the opener again and trying to mimic the opener. This will bring Greg cohesion to the Move, which will make them move overall better. I'd also want to follow the theme of the roof, e.g. in my move will jog. There's the theme of dropping. And as you can see in the closer over here, I dropped the packet and I dropped it again to close it. So now that I've finished explaining my creative process, I'm going to explore even further while explaining it through one of the moves I created that really fits in with the creative process I have, which is called a year. So handed off to me. So now we'll be going through the creative process of my move con, the crossfire, which eventually became so caught in the crossfire, it looks something like this. I first started the move in z grip. So the opener is this, followed by this motion, which is pretty simple, just a slide. Then I decided to break into another packet. And this kind of position, this position was kind of new to me due to how it wasn't actually a direct finger brake. It was between the crotch of the thumb over here and my other fingers, which was the unusual part of this opener. After breaking it in here, I decide to slide this packet into here. This created like two units, like a 2D structure. This was pretty interesting for me as I opened, as I transferred this packet into a scissor cut grip. And then I transferred into a scissor cut. This, the king of clubs into a basket group. And then essentially the other packet also illnesses or cut grip. Then I decided to do the switch was essentially wrapping the packet out into this kind of position in-between the crutch of my middle and index. This was not just to continue on the theme of fingers and the crushes between fingers over here. But due to how it was a nice wrapping around motion that pretty much opened up the structure. After that. Then I slipped the pack and down in order to start the closing motion. So over here, structure, it also created a nice sense of symmetry. Then open it up, wrap it around, and then I would slide the packet, it. Okay, So after sign the packet in and then close it by flicking my index back and then starting to closing. The closing. I really wanted to imitate this particular move by Oliver, so guard, as well as to refer back to the opener. So the opener, as you can see, uses a slide mechanic, which is why after maneuvering this packet over here, then I was able to slide the packet back and then close it, mimicking the opener. And then using this kind of Oliver way to close the packet, which you can see in this move. Can see that he kinda brings his hand bag as he closes it into a Charlene. Now here, break with the crotch. Symmetry. Scissor, cut, open, put down, flick, and then reference back to the opener over here, I signing it and then I was flying on closing it like this. A cow Oliver would. However, I decide to revamp this move into a move card. Yeah. Which looks something like this. I don't think can really see well from that angle, but I'll provide you with another one. So same open over here, same break. However. However, instead of dropping this packet, I decided to connect between my pinky and thumb. Then I would put this packet on the queen of diamonds. Now would push it down in between my two fingers. This would allow, this would then allow for the Queen of Diamonds packet to be held in-between the middle finger and the crotch of it, which is a pretty unique grip that isn't really used that often. It also allows for a callback for the previous version of this movie. I then hold this packet and the hinge as and use my index to rotate it. I then hold the eight of clubs packet like this, which is a pretty unique grip considering how it's a double grip and it's a pretty jarring angular structure. Then I would flare it out. And then what I do is I turn my entire hand as I rotate this packet and then I'll close it. And then I draw it into a L. And then I do this utility, which essentially is this, this utility which is using the script which I really liked that slip face use the lot which is pretty big inspiration for this movie. Here. Cuz it. Okay, and then over here, it starts to closer. The closer is pretty arbitrary honestly. I just close this packet on top. And then I raise this packet up into an L, which is probably a reference to the earliest structure and then just close like that and put it back in my other hand. That's my creative process for a, the crossfire. And then I hope that you can apply some of my tips and your own moves. 7. CREATING TIPS AND TRICKS: So now moving on to some tips and tricks. One of my first hips I'd like to give you is to try to learn other people's moves. So when I start with crochet, I thought learning other people's moods. So it's kinda stupid or ridiculous because I'm like, if I can make my own books, What's the purpose of performing other? Well, when I started learning other people's movies, I realized I could achieve two things were just to really immerse myself in their mechanics, which I can use later in my own moves. And also I was able to look at the careers and ten, while they're making. This allowed me to explore loads of different creative processes and of course improve my own car history as well. Next is to put an equal amount of effort into every part of the rule. Earlier when I said closers are the most important, I was like, everything is important to the opener, to the middle, to the closer, everything is equally as important. A good quality within an opener is if it can go to the middle section quickly and efficiently without breaking the law, move closer. In my opinion, a good tip for a closer would be to try to take inspiration from the opener. So then the move would be more cohesive. Another tip is to make what you want, but to always create within ten when you want to make your own creations is important to make what you want. No one else is telling you what to do, and no one else was confining you to any specific utility or mechanics or any confined styles. That's why coaches so amazing, great. However, despite this, it is still important to create within ten and a clear vision. It's also important to let it flow be natural goal where the move brings, you. Sometimes allow your fingers to do what's most comfortable. Would it be the best result for? This is usually called hand thinking as these motions are done subconsciously by hand while you're progressing in the movie. A great showing of intent is this move and Lawson anthill buy milk. The luxury is used to create a rather alternative pay cuts the node six pack and cuts and seen compact and PPACA movements. Display's color changes within cuts. So amazing. You can see over here that has a clear intent of the card moving in and out of the packets, you will coalesce it with the packets Kimiko coalescing, and finally closing with the single card on the top when it started the bottom. You'll kinda fitting them with the lawsuit. And hopefully you can see right here that he met us to still stay within this style, but have it clear in the tent of what his mum wants to be. This is the legendary rule, democracy buys Trevor Jaguar. This was shown in his pond k trials of Rob one of 2020, the spinal blue, which are really exploded in popularity. This shows how the opener middle and closer is all very important. So over here looking at the booth, you can see that it goes into the massive structure really easily in kiss three beats, opening it. Opening the other two packets are some cuts and opening these NSC formation. And then you can see that the middle part is pure brilliance. It pushes the other two packets back. That's just so smart. And finally to close, there's also great to isolate the middle packing and finally, back until likewise the grip and the closing it like that. Returning back to the opener, the spring to move loads of cohesion. A great showing of thinking could be seen by brand in his move chordate. So let's watch a real quick. It's a 4-pack cut that's really complex and features some amazing movements in grips. So z over gear, Very nice. And the closer of course. So head thinking could be seen in the closer of this move. Let's just carry on over here. So we've got that about the slide. Okay? So after closing this, you can see that the thumb is pretty far back, so instinctually, you want to bring it forward again. This actually creates a great opening for the spin, which then allows this packet to maxillae go down below this packet to close. You can see that since his hand is ready, go forward, a natural move would be to continue brave this packet for it, which is why he does bring the whole loop into a surely aid. And then finally closing it. Natural, great showing of Anthem case. Here's some quicker tips that could be important. Clumpier decks are a lot easier for packet cutting. So e.g. I. Have a clumpy deck over here and really found that, well, it's not really that even This means that during packet cuts, it'd be able to stay stuck together a lot easier. Well to the contrary, this means that newer decks are a lot easier to fan and spread. You can also maybe rejuvenate a older deck with something called fanning powder so that there'll be able to spread even if you want to make a table move. It is very important that you're doing it on a plush or softer surface. This is so that the packets can bounce a lot easier. And then you can also make sure that you can square up the deck and you could break packets up and easier. When I mentioned structures earlier in styles, it could actually also work very well cuts. A good example of this could be the host by Leo fluoresce called intermission, where he made this kind of bird display within his cut, which actually works as a great, great display or structure. In terms of packet cuts. Avoiding something called Databricks is really nice. Death grip, grip stars eventually look like this, where there's a package front and then there's motion to back that is getting covered by the front packet. This is obviously not good because that means that all the exciting stuff in the back really show. This can be fixed by, you know, revamping or move, or actually even changing the camera angle. This could be seen in my move kaleidoscope or front on angle, really colors around the motion. However, if you elevate the angle a bit higher than you'd be able to see everything. Hover. A great showing of how desk goods could be useful to add structure can be seen in this one, Nathan. A good tip could also be mixing around your different openers and closers with integral, switching them around playing matchmaker, the single cards are great for motion. As you can see over here, they create a more flowery type style to your cut, which allows are loads of motion. Some great examples of the use of this is in jake PTM is trousers move, rolling singles by trying shank hysteria, which insanely has four single cards, which adds a lot of flaring to the moon. So really anything by Scott black? My final tip is something called 15-minute move game. I've played this game with people on the car from this court. This is basically where a group of people find an opener and then they're forced to make something with it within 15 min. This really makes your creative brain going as it forces you to create something in a really short period of time. Anyways, those are all the tricks and tips I'd like to give you onto the next video. 8. AN INTERVIEW: Up next guys, there's gonna be an interview with the one and only Jason Chung at career stories. He's an amazing artist and amazing theorist and amazing edit maker. And I think my interview with him would be able to teach you loads. So Passover to me, giving them an interview. Hey guys. So this is the interview with an amazing Curtis Jason Chung at cars trees. Nice to meet you. Necessarily tremendous takes you did so. Well. Maybe can you introduce yourself first? Maybe show some roofs. You note for all alone. I'm Jason. He said my Instagram handle. I don't know if people know me for doing cars, street and stuff and I make cool videos, I'll do I'll move. My guys. Hear you if I can do it in half and practice. To be fair. This is Shell, I think. Yeah, it is shelf for this we're in particular, yeah. A great study on theme and, as well as body movements, I think. Yeah, I really liked this, one of my favorite style. Yeah. Although it's pretty old, right? Like 2020, I think. Tony I think. Yeah, it might be Tony. Tony to me that sounds recent, but I haven't put out stuff recent myself through still feels raised your eyes like what is it? Elastic heart still feels pretty new to me honestly. Because like, yeah, it needs to be on and grill. Just feel so because I'm worrying and the back of the hand transfers just like, Oh my God. Yeah. I like it, but it's a pain to do. It's one of those bids where like, I like it it's just like I don't like perform because it's hard. Yeah. Over here we re finished discussing how to create a move in such, how would you describe your creative process? Because I already know that you have moved such as a disorder that really focus on the emotional aspect of cars, street, big night, greater phrases is definitely different every move, but I think it usually all starts from, it always stems from one idea of like this small mechanic. It could be something small like example is this mechanic. I remember explaining this but thought that card flipping over, but it's mom, mechanic and it's small like that. And then basically you're expanding upon a really small idea. And then Ben fluorine, you can arrive at an idea like this, a rupture of that. Then you finally complete them by basic polite. It's surrounding a small idea. It tends to be like that. Then it's kinda like different variations of that with Brian Ross as they could be like taking on around an idea like like Shin, right? And then you can make a tube anti cut. That's basically like a two-handed cut flexion. We have the theme is like the flexion million, something like that. Were the theme is like this, kinda like pinch and then slide down, right? Yeah, exactly. And then you can transform that into a two and a cut maybe. And that's one of the ways I created moves is transpiring in one hand, got into like a two-man cut because you already have a theme. Like basically you're just transferring into the tubing and adding more packets and structure around which can make the movie to look bigger and more, and more complete and such. Yeah, inverse substantial. What do you think are important for some beginner cars to know about? As sound Garland? I think what's important for a lot of beginner cars is that they got to remember that car history is really new. So like there isn't really anything that's wrong. Because I think a lot of beginners, and they start out, they feel like they have to like go into a certain trend of like what's trendy. And I think that kinda just creates a bunch of cars is who are exactly the same, where a bunch of the bias Levene's it until there's I guess. I mean, it's not bad because Tobias I'm not saying Tobias and all of her backyard is their grade. It's just that I think a lot of people try to emulate them too much. They just, they just, there's just try out new things and see what works. And don't shy away from your idea's good. Well then how did you start your clothes shoe journey than I think I think that's interesting that nope. Okay. Yeah, this is interesting because well, I know a lot of cars, they started out as magicians. For me, I was actually will end up speed cube or none. What really are released? Oh, really. That's sick. Your screen is really blurry by the way. Just laying it out, I saw it. I can't recognize the topic Cuba it is, but it's okay. It's again, began nice say Doria. So basically, I basically got bored of Cuban because I think I really wanted to on, I guess like explore ideas and share them to people. And when I did do that in cubing, like sharing, like new outer loans, cool algorithms I saw, I think most people just didn't really care as much. About it and never just interior like this. All vain. I just felt like you didn't fit. So then I moved on Dzhokhar street and then it was all about creating and exploring. And I think that's why it really interested me and me. And it, aside from that, what is an aspect of cars street do think loads of other cars to neglect below. I think that the one thing that most cars neglect is performance. I think a lot of people, they'll find a really cool structure, like really big structure and flashy. But then they'll like neglect, like the performance aspect and how to present it. So then it kinda on almost ruins the idea. Like you don't get to see the full potential idea. Unlike people don't play around with certain things like accentuating it with your hands in certain ways. Like maybe like for like, think of a move. Like that example is actually really simple example. Earlier. Like you could do Charlene like this, like most beginners usually do. But then eventually down to like have a low like flare and kind of where I can add to the flow of the luck of high performing or movies, I'd say, but it's true, yeah. Banning, that really will help us sell idea because I've seen so many movies where it's like super big and stuff, so it's cool. But then I feel like it doesn't like reach his full potential or just because they don't present it like well enough. And that could basically take a great move and then make it into art to take like a good move and make it into a great move. This true, like, I think aside from performance like how you're actually handling the cards like that, packet cleanliness or the smoothness, I think camera angle. Yeah, I can definitely agree that camera angles are also very important. There's just one. Oh yeah. So you don't cover like parts you want people to see. Yeah. So like F9, there's this rule and you can't really see what's going on that much. But then from a top-down angle, you can see a lot better because there's the dead packet. I see. Yeah. Well, on the topic is through this, What do you think? What's your take on float? Because I know you have a lot of like a flow Ricard history. No, you really move your body along with the cards. And I think I find that really interesting for me. I move because actually a lot of it has to do with like making sure just like what you said with like the camera angles. Like making sure I like let the audience see what I want them to see. Basically, I was certain parts, like an example is led God. But earlier was shell like I'll turn my body because I want to see certain parts of it. So like with this, I want them to see, it's kinda Z structure right here, right here. And then I want them to kind of see this like pullout. Because if I were to show it downward and it's kinda like forward, you can't really see what's going on. If I show it from here, you see like the disconnection might blow out into there. And it's like they kinda like certain things like that. And then with this I want to see from this angle, because I want them to see how this is kinda floating, right? So there's like kinda just showcasing different parts. I want the body and that's why I rotate my body. Kind of a broad question, but how would you how, how how did we come a better card is Steno. As you become a better car, is I think honestly just be yourself. And I know it sounds cliche, but I think you just got to really like find your own style and find your own niche. And you don't always have to follow trends. Yeah, I think that's the main DO because I feel like a lot of cars, they'll fall into the trap of just like kinda falling what's trendy and then their car to freak out and just be Collins. I guess like almost forgotten because it's kinda just all similar with everything else coming out. As just the main thing there. Sorry, guard is like Carter where you just had like, I think he has his own approach to his move design. I think that's what makes his move so special. And it's, it's like very distinctly Carter, like it's his style. And you can tell I go whenever you see a Carter move right away, like it's just like no mistake. A real like you see it right away. Just the move design and the way he performs. And I think that's what makes a good artist is like being able to just be yourself. Here's some quick questions. It's your favorite video, it's your favorite artist. And what's your favorite deck of cards? Again, favorite video. So I would say 86 run. If that video was still existed. It's Alex rachis, ICO, final blot. For now, I'll say Hiroshima, just because it's still up on YouTube so people can watch it. It's by John song. And it's really good. I think what makes it really good? It's just like how on expressive he is with his car history and his hand flares. Just really sell the moves. Favorite duck. Every deck. Deck. I think I won't have to go with a hard it depends on like how I feel some days I'm like, I like this deck or that deck, but I think on glycerol, why dealer's grip? I really like, I really like a lot of dealer's grip tags actually, I think there's just a really unique thing that I like about it. Yeah. Thanks. Just like our eye, just like Oliver's vision, honestly. Just whatever weird thing see as I just loved his favorite card is I think you were re revealed down your story last night. Yeah, but it is Alex Rishi. I absolutely love Alex Rishi. I really miss him because he's like inactive. I think what The reason why I like it. It's just like I love how you just so flashy with high performance. Like he does like these. I mean, that's like, I think like how I perform cars trees like very heavily inspired by m of like how I like kinda like the flare of my hands and sometimes he shifts his body to that type of deal Pat. Yeah. Um, the only remaining cosec has on Instagram, which is the crazy like recoiled spin pausing and inquiry Cohen's day or so, so crazy. And like it's not even a recoil. It's like he's he's been sick card all the way and he whips it back as it closes. Like, yeah, it's like isn't that like sometimes like this. Right. And then he goes like something like that. I like semi learned because, you know, I'm a big fan of it as gotta figure it out. I also saw that you're a part of what CPC a couple years ago, 2020 or 2019. 2019. But how is your experience with that? And the finals against, I think Tobias? Yeah. It was really fun. Competitions I think is great for like a great external motivator for you to like creating a lot of material and grow. Although right now at the moment, I think I've been just super busy. So it's kinda hard to make time for it because one thing about competitions is that error, really time-consuming because you have to create so much material within like a week. And usually like most car does is they have like 40, maybe like 30, 40 moves total in the entire repertoire. And they'll just use that all unlike the first two rounds or likes on dead, right? So then they have to end up creating their entire repertoire all again into it. Then like another two or three more around. So it is kinda lot bass bar code creating quickly, especially for trials. We've got to create a lot of momentum based moves, which I'm pretty bad at. I have even made one, but I'll make them. I just don't enjoy making them as much. I think there's just a lot more rewarding for me personally to make something that is kind of like a creation. I can either like a walk to an account or like sunlight constructed creation, I guess. Yeah, I think I think that's gonna be it for today. Thanks for coming to the interview. Yeah. 9. THE COMMUNITY: Now I'd like to talk about one of the most important parts of cartridge. It's not creating moves, It's not sharing moves. Actually, it is a community. The amazing community cartridge has. I'd just like to say that car, she has an amazing community and I'd love to talk about it right now. I mostly did cartridge so low for my first two years or year-and-a-half, starting in 2018. I only joined the community during the summer of 2020. Why I joined the car discord or a cartridge discord as I often refer to it. This, I met amazing people I could jam with and share ideas with. However, I realized that not only does jamming with other people helped me create more moves and create better moves. But I started to create some very valuable relationships to some of these people. Still on friends who now, which is, you know, Sam Ko after a bit, I then became more involved. During the beginning of 2021, I released my tutorial for one of my first moves, offset, which I've referred to a couple of times within this whole course in the cartridge gang YouTube. You're going to start in a new position. Then put your right pinky on your top right of this packet and the left thumb on the bottom left. I was also just no more active on Discord, talking to many new people in discord and just jamming were often, if you want to start getting involved in the community, which you definitely should, it will improve your car she experienced by a lot. You should definitely look into opening an Instagram or just starting to look through coercion and Instagram. Cursory mostly lives on Instagram. The short form content over there allows her some of the moves. Some of the best movies are actually just all of the moves through post over there. No, follow some of the best card is false, some of your favorite artist and just keep up-to-date with other moves that they're creating. I'd also recommend you to join the kosher discord, which is in particular cartridge street gang. That's my favorite one, where you can jam with some other great curtis. However, in terms of events that the community follows up on its competitions, car Shri is fueled by competitions and competing by creating better moves. Think of a card. That's still wrong. First, I'd like to discuss CCC. Ccc stands for the cartridge con championship, which is unfortunately discontinued during 2019 due to Fontane trials, but we'll talk about that later. It has created some of the best videos and allowed some of the best cars to come to the forefront of cartilage tree. In 2016, the winter was serine one with Daniel Lin being second place. Three then trade DI car Shri this amazing Vietnamese car should group and then Daniel and create lotus in hand, which is one of the most iconic car shoe brands to this day. In 2017, we had Edgar Isaac Hernandez being first-place, amazing Mexican artist. James chest more being second. They are now big faces within Fontane and James chest more credits just like some of the most insane car should I, you can ever see some of the most creative things, some of the most banger moment roofs. He creates them and he creates some very, very, very, very well. In 2018 you had Lewis Macau cocoa be number one, loose my calico, eventually paired up with the other amazing Mexican artist. Previously said, I'd your Isaac in order to create mono Santa, which is another very popular car she ran nowadays, which with decks such as the 45 s and tic-tac-toe and Alphabets. Alphabets definitely. In 2019 We had my favorite winner, Lars may run. You should definitely check out his final video. It's essentially an ODE or leveler to Portland that he created. Truly amazing. Like look at some of these fan moves, look at some of these moves, man and his amazing way of including his body movements into cartridge. Now, let's move on to Fontane trials, which works off of Edits. Edits are simply most of the time sub 1 min videos with different clips string together and thus edited. Why they're called edits. Typically, as the rounds progress, the edits become longer. E.g. last year we had five rounds. In the first round we had 15-second edits, and the second we had 30-second, then 45 for third round, and then a one-minute for the fourth round. And then we had a long-form video for the final round, which has been a staple for the past three years of Fontane trials. The first-year had the amazing Trevor ago are winning with his amazing like five. Four-minute finals video. Then we had Carter McDermott a second place with this amazing atmospheric by being Carta Street. In 2021, we had the amazing Nikita yacht sick as first place, as well as tr1 shank is Siri and sky slash sky cards at a second place, Nikita created a thorough six-minute banger final video with incredibly messed up move. And finally in 2022, we had traveled or guar again in a person who came in and won first place. Second place is being taken by, I believe trend and Fannie for renewal. You should definitely check out Final Four k, which is up on Trevor guards channel, which is called x2i. Key, explores some of his old ideas, such as mocks each I previously talked about through variations. Some smaller competitions include Grand Prix, which was won by Dhabi HA in 2022. He was the second place runner for CCC in 2018. A coupling this mechanical. If you want to get even more involved in the community, if you'd like to release moves, okay. You can either release moves through Instagram and you're just short clips or what people call a solo video, which is often regarded as a pretty, as the pinnacle of car shoe. So a solo video is essentially you performing a bunch here, moves in front of a camera. Wow. Okay, So specific, it's typically more than 1 min long as videos that are under 1 min are typically regarded as edits. Solo videos have to consider Cara work background music which is often linked with the moves, the atmosphere, and have saved moves, which are the new moves that haven't been released to the general public. You have to think about the location transitions as well as fillers, banger and B-roll, where fillers are mostly like the background of the video. Moves that are still pretty good, but don't take away from the banners which are the crazy breathtaking show stopping moves and B-roll. B-roll itself just anything that isn't car shrews in order to create some space within the video. And finally, an obvious one is clothing. Clothing should definitely be considered with she video in order to create a specific mood edits or special effects could also be seen in videos and could be used to enhance it, though it shouldn't be overused. A great use of edits is power play by Daniel Lin, where he uses specific special effects and animations in order to send subliminal messages within his kosher move, as you can see over here. And reversible goes to zero and then it goes to negative one and then goes all the way to one as the civil reverses. Now, let's analyze a car shoot video. Let's look at Tycoon by Samuel Pratt. First, we have B-roll to start the video. And let's just say it's very modern B-roll. You can see the modern aesthetic of the building. You know, him walking in a pretty minimalistic shirt, which is able to reflect any one's vision of minimalism as well as street where this overall creates a very cool and chill atmosphere. Then I feel like one thing you should definitely noticed within the first couple of moves as the camera work, you can see this in the three packet interlock, where the camera goes up, hands up slowly as the movie progresses, showing angles of the move that you won't be able to see head-on. There's also transitions. Transitions within his moose could be seen in how once he ends the move, the camera usually just goes away. And as he starts to move again, the camera usually put Samuel Pratt back into the frame. Great detail, in my opinion is how the sound is left in. The sound is left in, especially within this move where you can hear the sounds of the carts over here. You can also definitely see the clear distinction between film moves and banger moves. Filling rules are such moves like the three package, spread, H, production, King production and tap. Then those, these are incredible moves. They do not detract from the true, true bankers, including of course, the spring spin, as well as the display, an extension of his previous movie. It's also important to point out how other moves such as the fans break the monotony of packet cutting. You can see that he doesn't put two pack and cuts together as to keep the audience engaged with different styles of car street. The background music is also perfectly sync to almost every move, which is a great detail that shouldn't be avoided in any solo video. Finally, I want you to look at this insane spring spin. I don't even know how he comes up with this stuff, man. Oh my God. So now we went through the community, as well as what the community cherishes, what fuels the community, and how to get involved into it. So I hope you have a good time. 10. OUTRO: Hey guys, I hope you guys learned something from this car She course, whether you're a beginner who just did their first surely a good job by the way. Or advanced cars who are learning how to create more effectively and efficiently. I hope that you guys have enjoyed the course I put together. I want to give a special thank you to all the people who've made moves. I've analyzed throughout this course, there's at least 100 of them. And you guys are all great. Curtis, I would like to extend a special thanks to Sam Ko and Jason Chong for creating tutorials as well as Jason himself for allowing me to interview him. I wanted to create this course with the underlying message that having a hobby is great. You know, whether it's a Rubik's cubes or it's a car industry, or it's a Domino's. Personally, I think having a hobby is very good for your mental health and for your just general lifestyle in general. I especially realized this during 2020 with quarantine and COVID, all that stuff where I didn't really have that many friends which I could go to. You know, I just really immerse myself in the hobbies I loved. So through this, I want to donate, I think 70% of my revenue that I created for this Skillshare course to mind h k, as to promote better mental health and hobbies. This one's dedicated to a friend whose soul gladly introduced me to kosher when I was like night. Anyways, I hope you guys had a good time. Bye. 11. UNCUT INTERVIEW : Hey guys. So this is the interview with an amazing artist, Jason Chong at cottage cheese. Nice to meet you. Thanks you did so. Well. Maybe, can you introduce yourself first? Maybe show some roofs that you know, for around I'm Jason. He said my Instagram handle. I don't know if people know me for doing cars, street and stuff, and I make cool videos, I'll do a move here if I can do it in half and practice to leave their houses. This is Shell, I think it is shelf. For this we're in particular, yeah, a great study on theme and, as well as body movements, I think. Yeah, I really liked this phone. I fear it a style. Yeah. Although it's pretty old, right? Like 2020, I think, Tony. Yeah, it might be 2020 to me. That sounds recent, but I haven't put out stuff recent myself through still feels raised. Your eyes like what is it? Elastic heart's still feels pretty new to me honestly, because the mediates, the hand grips just feels so as I'm worrying and the back of the hand transfers just like, Oh my God. I like it but it's a pain to do. It's one of those videos where like, I like it. It's just like I don't like perform because it's hard. Yeah. I'm also okay. And it also just saying like please refrain from swearing or bad language because this is going to be for school. Oh, did I dressed where I not only library, I did it. You did it. I swear a lot. Siano. But like for this kinda, kinda go to tone it down. Like you can say crappy, but I think that's where we cross the line. So yeah, I can I stop. Sounds good. So how would you remove? So over here we re finished discussing how to create a move in such, how would you describe your creative process? Because I already know that you have moved, such as a disorder that really focused on the emotional aspect of Cottage Street. Ignite greater phrases is definitely different every move, but I think it usually all starts from, it always stems from one idea of like this small mechanic. It could be something as small lake example is this mechanic. I remember explaining this but thought that card flipping over. But mom this mechanic and it starts with something small like that. And then basically you're expanding upon a really small idea and then Venturi and you can arrive at an idea like this, a rupture of that. Then you finally complete and its surrounding a small idea. It tends to be like that. Then it's kinda like different variations of that with greater velocity. It could be like taking on around an idea like flexion, right? And then you can make a two-handed cut that's basically like a two-handed cut flexion. You have the theme is like the flexible million, something like that. Were the theme is like this, kinda like pinch and then slide down, right? Yeah, exactly. And then you can transform that into a two and cut maybe that's one of the ways I created moves is transporting it one-handed, got into like a two and gut because you already have a theme. Like basically you're just transforming into an adding more packets and structure around it, which can make the movie to look bigger and more, and more complete and such. And very substantial. Yeah. Well, regarding the creative process, I've seen on your Instagram that you've also had the five different types of creative processes, right? Would you like to go into that real quick? Yeah, I think those are really good. I think those are just some examples of creative process and you can use that are very helpful. Let me look over it because it's been awhile since I was the seat of my design and I like have like more than five, it's like just a bunch. But these are some of the more important ones I think are entering the first woman. I don't know how in-depth you want me to go into it. Take your time, guys. So like with the one-handed got to, to Anika, I think it's really useful for beginners to start with this one because I think it's really straightforward because if you know one in a cut, then you already have the first step down, which is good at picking out one hand cut. Then basically what you do is you take this one and got, maybe it could be Chatelier, right? And then you can build off of the theme of what you see off of it. Maybe you could go like, like add some structure to a sharp earlier and then something like that. Bend. It doesn't want to ease. You can like, I guess a lot of these you can do with it. I think, and it's really easy to create with everything. The second one, I think it might be a bit confusing. It's, I call it a recontextualized or repurpose. But the idea is you're taking like an idea and then you're using it in a different way than it was originally intended to be. Something like the example I showed was this is actually like the isolation mechanic of like made by Jaspers. But then he completely repurposes it to flip the card, which I can't do, but he does not. And then it kinda gives it a different meeting. And there's a lot of ways you can use that and maybe it can be off the top of my head. Think of an idea. Maybe it could be like backdrop, I don't know. Usually it's to use it as an area where maybe use it as like some sort of using the position to do something else Lay, yeah. I'm thinking of something but I can't. Shield. Example would be a lances Lego love into judo flip situation. I think that I think that's an example, yeah. Where he like Lego, like he does double Lego, love creates a Jew like Oh, no, Jedi flipped. And then he uses the Yeah, yeah, exactly. Yeah. That's a great example. Yeah, exactly. It's something like that on much in there that yet. And I guess the next one I think is I think it's better for you to work on this like later down. So like not really as much of a beginner thing because I think it's really hard to start out with. This is creating based on a name or idea you are passionate about going with this. I really like it just because I can make it about anything and it just gives you an extra motivation to finish, to remove. It could be like naming a mood after your favorites shell and then making it kind of aspects that you'd like about the show in it in certain ways. It's like an ankle weights. You don't have to basically replicate exactly what the topic of like what you're trying to aim for is, but it's more of like a prompt or use a like stern idea, I guess. And I think that's why it's fully start grading. I also feel like such like a more conceptual way of creating moves can definitely make a more creative, I guess, like. The mechanics can definitely be a lot of mu and pray different and pretty new and pretty fresh. Just like the example you gave of a cargo by Beckett. Because I don't think anyone has ever used this except for gout lock and thus are in isolation. Yeah, Is that cool? And it can be kind of abstract In a way to, because it's based on something or it's like it's such a far reach, all malice that then makes you like Craig kinda like, uh, I don't know where I was going with that. Said something along the lines. Yeah. For set rule 0 collider is such a beautiful. I love this move. I really liked this idea of creating two by setting a rule on, on putting that rule just, it'll definitely make the move look a lot different just by setting a certain role. Again, a role does then usually, like most moves will violate their roles. When you'd like completely take that out. It definitely gives it a different look. I think yeah. I also think it really forces the cart is to try to find a good way to like move the packets and move the cards in a creative way. Yeah, like problem-solving, I get it gives you a chance to problem-solve in a really creative way. Yeah, Like e.g. for collider, like you have this but then you're like, okay, what can I do with this? Okay. I can I can break up pack and right. And then I can do that motion. I can do the motion the same way. I can do a rev I can do a spin and do the same motion. Know trying to do. And I really loved, um, yes, in the sole video that you put out, he has like an aerial version and I really liked that because it's a plot of that idea. You know, it's it's crazy. Then breaking rules. Move of herself. Yeah, blind myself that I breaking rules is kind of like understanding. Like common roles in like car Sri like oftentimes, like are there certain roles? Like they're pretty common, like usually want to have two hands connected through packets. But if you break those rules in a way that is justified, again, Really open out different opportunities for creative ideas and in Israel at all. Yeah. I'm trying to think. Go on right now. There's definitely a lot like off the top my head is bound. Colorado has a few moves where he'll just split packets in the middle of the cut. And that's often something that is like a note out to most Baggett gutters, right? He doesn't well, in a way that makes sense with the theme. Yeah, Shawna, let me see. Let me send you the mood just so you kind of have an idea of which one I'm talking to you, Alice, we can do police told your camera up a bit. Sorry, I'm just so used to it because on chat Usually Usually I like this. But, you know. My dad says, Good. Let's see. I think I think definitely the biggest violation of the rule is one of his round 32020 videos. It's one of the most from the round through 2020 where it's like this, like massive IP packet cut with this and the packet goes through and stuff at it like bracelets, like three separate I think I know which one you're talking about. But it's the one that starts with this one-handed cut, right? Where are you like referrals off and then it was like this in the beginning, like that video, right? Yeah. Let me send you this real cool. This is the move I was talking about that breaks for Rawls model. Basically he does like a bunch of race splits. But because he made the theme like race splits, it makes the move work in a way that doesn't just feel forced. I guess. Like I really liked the detail of the closer it starts in the Z group and it also ends in a z group, which I think is at the end very coat, which is what makes us move pretty, pretty **** good. That's true. Yeah. I didn't really think about that. Yeah, I guess structurally it it all matches row left for the flag, all the line. Okay? Hopefully that could help you with creating your first couple of moves over there. Next thing is, what are some, okay, So like what are some pieces of advice that big inertia? Let's go get some ice cream. I don't know what's happening. It is generally less than a co-op. I live on the 23rd. I live in Hong Kong, bro, ice cream truck. I add, I guess I forgot role. I never realized how long this is. So what do you think are important for some beginner cars to know about? It? Sound Garland. I think what's important for a lot of beginner cars is that they got to remember that Carter stories really new. So like there isn't really anything that's wrong. Because I think a lot of beginners, and they start out, they feel like they have to like go into a certain trend of what's trendy. And I think that kinda just creates a bunch of like cars is who are exactly the same, where a bunch of the bias 11s and then filters, I guess. I mean, it's not bad because Tobias I'm not saying Tobias and Oliver backyards their grade. It's just that I think a lot of people will try to emulate them too much. They just, there's just try out new things and see what works. That's it. Don't shy away from weird ideas. Good, Well then how did you start your car shoe journey than I think, I think that's interesting. Okay. Yeah, this is interesting because well, I know a lot of cars, they started out as magicians. For me, I was actually we're now up to speed cube or non What really, really? Oh, really, yeah. That's sick. But it's pretty solid to know that a lot of like pretty good out one-handed Rubik's cubing. Eg screen is really blurry by the way, just letting you know so I can't recognize the topic cube it is, but it's okay. That's again, began nice day. Yeah. Okay. So you started off as a speed Cooper? I remember one time on resource story where he re-posted you with like in say one-handed TPS. That's all I remember. Yeah. Dude, I was just said new edge. It's got his love. He said it to you. Could you could cut this out. Sure. My apologies. I decided to just say you have some contexts and also so I can flex and kitten. But, but basically I started out as I think about music. So you go watch the video first. Oh my God, the blue end fertile. Yeah, I got them lumen terminals on it and did it was hype man wave. It was this cute. This is like cream magnetic, right? Yeah. This is actually pretty magnetic. Like so I was like because it was like back in 2017. Light posted cards ON that. Yeah. And after it just the games card card history at the end of my account. Oh, there's this codes is one had roof Excuse me. The other than I was when I was transitioning from Rubik's cube, that car history. I guess I'll start back on my stories. So basically, I basically got bored of Cuban because I think I really wanted to on, I guess like explore ideas and share them to people. And when I did do that in tubing, like sharing, like new outer loans, cool algorithms I saw, I think most people just didn't really care as much about it and never just interior like this all vain. But I just felt like it didn't fit. So then I moved onto a car street. And then it was all about creating and exploring. And I think that's why it really interested me. And I mean, it is that you really liked the more creative state of mind that car should put you in instead of the more repetitive Rubik's cubes? Yeah, Exactly. Yep. I fall. I feel like a part of the rubric. She was also go into cursory tube because aside from the dexterity part, I think that like problem-solving, right route Excuse although problem-solving F20 in Rawlinson or does help? Yeah. As you were saying before, like collider and setting rules like you have to problem-solve during cars tree. And I think that applies to yeah, I do think it applies to do on cubing too. Although I do feel like cubing. So that more memorization, I feel like it's a lot of like responding based on what you already know. But sometimes you'll come across like, sound like crazy idea and then you just go for it and cubing, that could be cool. Yeah. So cypress that what do you think is an aspect of cars? Aside from that, what is an aspect of cars? Street do think loads of other cars to neglect. They take I think I know. I think that the one thing that most cars neglect is performance. I think a lot of people, they'll find a really cool structure, like really big structure and like flashy. But then they'll like neglect the performance aspect and how to present it. So then it kind of on almost ruins the idea. Like you don't get to see the full potential idea. Unlike people don't play around with certain things like accentuating it with your hands in certain ways. Like maybe like for like think of a move that I can. I guess I got to think. What's a good one example I've heard of is one of those streams heat. He said that during a rough cut like this, but then if you extend your middle finger a lot, it will give you loads of structure or something. Oh, yeah, yeah, yeah. Or it could be like, Okay, Let example is actually a really simple example on Charlie or like you could use Charlene like this, like most beginners usually do. But then eventually down to like have a low like flare and kind of where I can kind of add to the flow of the luck of MCI performer matters. I'd said That's true, yes. Batting. That really will help us sell idea because I've seen so many movies where it's like super big and stuff, so it's cool. But then I feel like it doesn't like reach his full potential or just because they don't present it like well enough. And that could basically take a great move and then make it into Eric to take like a good move and make it into a great move. This true, like I think aside from performance like how you're actually handling the cards like the packet cleanliness or the smoothness, I think camera angle. Yeah, I can definitely agree that camera angles are also very important. There's just one. Oh yeah. So you don't cover like parts you want people to see. Yeah. So like F9, there's this rule and you can't really see what's going on that much. But then from a top-down angle, you can see a lot better because there's the dead packet. I see. Yeah. Well, on the topic is through this, What do you think? What's your take on float? Because I know you have a lot of like a flow Ricard history. No, you really move your body along with the cards. And I think I find that really interesting for me. I move because actually a lot of it has to do with like making sure just like what you said with like the camera angles, like making sure I like let the audience see what I want them to see. Basically, I was certain parts, like an example is led God. But earlier with shell, like I'll turn my body because I want to see certain parts of it. So like with this, I want them to see, it's kinda Z structure right here, right here. And then I want them to kinda see this like pullout because if I were to show it downward, it's kinda like forward. You can't really see what's going on. If I show it from here, you see like the disconnection, like, wow it into there. And it's like kinda like certain things like that. And then with this, I want to see from this angle, because I want them to see how this is kinda floating, right? So there's like kinda just showcasing different parts. I want the body and that's why I rotate my body. Like I just do a large dose dialogue, especially during his CCC videos. He loves to like make big movements with things other than his hands, which I find very, very nice actually. And I think I'm Debbie does that a lot too. I really like yellowstone has a great camper van that helps. Yeah. And I like how the caravan basically does backflips. Like not even kidding. It's just like like he had one video where his camera man was just like, Well, your Dr. camera bed isolates the packets. Yeah. I know. That's part of the move. I mean, the presentation really like can make them move, honestly. Okay. We'll stop for a moment because my my **** computer is dying and I know it's all good. I could talk to me. And also all the cat Squeak. The backup will happen. All the cats. I'll put a catabolic ads. I see, I see. I look for cats. Happened to switch places. I add small. You can take your time. I stay up super late, so it's not a big deal though. Okay. So her back on what's next. Kind of a broad question, but how would you, how, how, how to become a better card is Steno. As you become a better card is I think honestly just be yourself. And I know it sounds cliche, but I think you just got to really like find your own style and find your own niche. And you don't always have to follow trends. Yeah, I think that's the main deal because I feel I feel like a lot of cars, they'll kinda fall into the trap of just like kinda falling what's trendy and then their car to speak on it just be Collins, I guess like almost forgotten because it's kinda just all similar with everything else coming out. And that's just the main thing. That's like as was asked what the best Curtis, they're always innovators, you know, actually some of the best people now are still the best people now. Patrick Patrick Fernandez, passenger Leo, it's been around for awhile. Though. They're still need to work on packet cuts, which have been here for a really long time and have since been replicated a lot. The way that they make these packet coats are just like they create new mechanics and ingenious structures. I think it really make their packet gets fresh. Yeah. There's our guard is like Carter where you just have like, I think he has his own kind of approach to his Moog design. I think that's what makes his move so special. And it's, it's like very distinctly Carter, like his style. And you can tell I go whenever you see a Carter move right away. Yeah. It's like if you were to watch woodland zombie, you would only know that it would be Carter who would be doing that? Yeah. Yeah. Like just like no mistake a row. Like you see it right away just under design and the way he performs. I think that's what makes a good artist is like being able to just be yourself. Okay? So this is a bit, a bit of, oh my God, here's some quick questions. It's your favorite video, your favorite artist, and what's your favorite deck of cards, you know, favorite video. So I would say 86 run. If that video was still existed. It's Alex rachis, ICO final. But for now, I'll say Hiroshima, just because it's still up on YouTube so people can watch it. It's by John song. Have you seen the video? Jones, So it's it's not the lows and add water. No, no, not the loudest and won the one by himself. Yeah. I'll check down a bit. It's really good. I think what makes it really good? It's just like how expressive he is Swift, like it's car history and his hand flares just really sell the moves. Yeah. Jones song itself. It's just like he creates these insane, but I'd say almost impossible moves like hustler is just like the most messed up thing you'll ever seen. And the ice. Like using weird groups again too crazy. And Vic structure is kinda like Max crusts, I think really makes the hardest. Hello, favorite duck. Every deck. Deck. I think I want to go with a hard. It depends on like how I feel some days I'm like, I like this stack or that deck, but I think on glycaemic, why dealer's grip? I really like, I really like a lot of dealer's grip tags actually, I think there's just like really unique. It's done. I got it. I think that I like about it. Yeah. Thanks. Just like I just like Oliver's vision honestly is whatever weird things see as I just loved his vision and faults, but whatever weird things Oliver thinks of vote, I was literally the most creative clerks. I think I was talking about this with the trim and a couple of other cartridge going people. And I feel like what makes dealer's grip stacks so specialists that they grow on you. Like once you see glycerin, I when I first saw I was like That's a bit wacky. But then the more I like I bought it and then the way I use it, I was like, this is, this is, this is crazy. This is such a, such a well-designed deck of cards. I don't know. It's weird. I feel like eventually I've come to almost like trusts Oliver's vision where it's like at first, it's like I don't know if I like it, but I feel like I know I will eventually it just because the more I look at it, it just kinda feels more and more cohesive. Almost just like I'm starting to understand all of those vision behind this deck. More. I look at it, I guess. Yeah. Favorite artist. I think you were re revealed down your story last night. Yeah, but it is Alex Rishi. I absolutely love Alex Rishi. I really miss him because he's like inactive. I think what The reason why I like it. There's just like, I love how you just so flashy with high performance. Like he does like these. I mean, that's like, I think like how I perform cars trees like very heavily inspired by m of like how I like kinda like the flare of my hands and sometimes like he shifts his body to that type of deal Pat. Yeah. I'm the only remaining cosec has on Instagram, which is the crazy like recoiled spin palsy and inquiry Cohen's day or so, so crazy. And like it's not even a recoil. It's like he's he's been sick card all the way and he whips it back as it closes. Like, yeah, it's like isn't that like sometimes like this. Right. And then he goes like something like that. I like semi learned because, you know, I'm a big fan of it as gotta figure it out. Okay. Well, I also saw that you're a part of what CPC a couple years ago, 2020 or 2019. 2019 of thing again, Let's go. But how is your experience with that and the finals against I think Tobias? Yeah. It was really fun. Being in competitions I think is great for like a great external motivator for you to like creating a lot of material and grow. Although right now at the moment I think I've been just super busy. So it's kinda hard to make time for it. Because one thing about competitions is that error, really time-consuming because you have to create so much material like within a week. And like usually like most car does is they have like 40, maybe like 30, 40 moves total in their entire repertoire. And they'll just use that all unlike the first two rounds or like something, right? So then they have to end up creating like their entire repertoire all again within another two or three more round. So it is kinda watt fast for creating quickly, especially for trials. We've got to create a lot of bass moves, which I'm pretty bad. I have even made one, but I'll make them. I just don't enjoy making them as much. I think there's just She's a while more rewarding for me personally to make something that is kind of like a creation of a either like to Anika or like some like constructive creation, I guess. I also, I also think that in CBC they're also like themes for rounds. Like there's a body of theme, right? And yeah, I forgot I forgot the previous oh, there's a carton sort of thing, right? Yeah. And there's car destroyed theme and I hurt my hand and it's been around a one-handed flooding actually. Yeah, I did. I injured my wrists, so then I had to use my authentic double into a route, which is really funny. I've had happened, I guess. Yeah, I think I think that's gonna be it for today. Thanks for coming to the interview. Yeah. Thanks for having me. It's that are offline. Thank you. Thank you.