Sleight of Hand Bootcamp - Zero to Hero Training | Elisav Bizau | Skillshare

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Sleight of Hand Bootcamp - Zero to Hero Training

teacher avatar Elisav Bizau, Close Up Magician, Cardist, Creator

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.



    • 2.

      1. Section I: Developing Muscle


    • 3.

      1.1 The Classic Palm


    • 4.

      1.2 Vanishing a Card w/ a Classic Palm


    • 5.

      1.3 Popping a Card from Classic Palm


    • 6.

      1.4 Coin to Card Transformation


    • 7.

      1.5 The Vernon Top Card Classic Palm


    • 8.

      1.6 The One Handed Top Palm


    • 9.

      1.7 The Tenkay Palm


    • 10.

      1.9 The Tenkay Vanish Part 1


    • 11.

      1.10 The Tenkay Vanish Part 2


    • 12.

      1.11 Tenkay Color Change


    • 13.

      1.12 Stealing with Tenkay


    • 14.

      1.13 The Tenkay Pop by Mark Spannbauer


    • 15.

      1.14 Tenkay and Other Objects


    • 16.

      1.15 Backdrop by Kevin Ho


    • 17.

      1.16 The Backpalm


    • 18.

      1.17 Backpalm Advanced


    • 19.

      1.18 Top Card Backpalm by Biz


    • 20.

      2. Section II: Muscle Training


    • 21.

      2.1 The Charlier Cut


    • 22.

      2.2 Revolution Cut by Brian Tudor


    • 23.

      2.3 Cardistry in both hands


    • 24.

      3. Section III: The Basics of The Basics


    • 25.

      3.1 Grips


    • 26.

      3.2 The Thumb Fan


    • 27.

      3.3 The Dribble


    • 28.

      3.4 The Spring


    • 29.

      3.5 The Waterfall


    • 30.

      3.6 The Riffle


    • 31.

      3.7 In The Hands Spread


    • 32.

      3.8 The One Handed Fan ala Smear Fan


    • 33.

      3.9 The Key Card Concept


    • 34.

      3.10 Holding Breaks


    • 35.

      3.11 The Tilt by Ed Marlo


    • 36.

      3.12 The Pinky Pull Injog


    • 37.

      3.13 Double Lift Crash Course


    • 38.

      3.14 The Magician's Force


    • 39.

      3.15 Shuffles


    • 40.

      4. Section IV: One of Them All


    • 41.

      4.1 One Color Change


    • 42.

      4.2 One Switch


    • 43.

      4.3 One Force


    • 44.

      4.4 One False Shuffle


    • 45.

      4.5 One Peek


    • 46.

      5. New Chapter and Section V


    • 47.

      5.1 The Slap Change


    • 48.

      5.2 The Wave Change


    • 49.

      5.3 The Cardini Change


    • 50.

      5.4 The Ego Change by Daniel Garcia


    • 51.

      5.5 Push Change by Ed Marlo


    • 52.

      5.6 Mary Color Change by Biz


    • 53.

      5.7 The Turnaround Change


    • 54.

      5.8 Push Push Change


    • 55.

      5.9 The Duck Change by Hiro Sakai


    • 56.

      5.10 The Paintbrush Change by Roy Walton


    • 57.

      5.11 Snap Gravity Change


    • 58.

      5.12 Shapeshifter by Mark DeSouza


    • 59.

      6. Section VI: Controls


    • 60.

      6.1 The DL Control


    • 61.

      6.2 Metro Control by Biz


    • 62.

      6.3 Simplefied Control by Biz


    • 63.

      6.4 The Spread Control


    • 64.

      6.5 Bert Allerton Control


    • 65.

      6.6 The Double Undercut


    • 66.

      6.7 The Bluff Control


    • 67.

      6.8 The Injog Control


    • 68.

      7. Section VII: Forces


    • 69.

      7.1 The Dribble Force


    • 70.

      7.2 The Dai Vernon Knife Force


    • 71.

      8. Section VIII: Peaks


    • 72.

      8.1 The Bubble Peak


    • 73.

      8.2 Gambler's Peak


    • 74.



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About This Class

Hi there. In this course we're going to learn Sleight of Hand magic. 

We're going to cover every aspect of sleight of hand, from the BASICS, to THE FOUNDATION and the UTILITY MOVES that have made sleight of hand artists known around the world.

This course is intended for beginners. You don't need to have any previous knowledge of sleight of hand magic. All you require is a deck of playing cards.

This course is split into 7 Sections:

I : Developing Muscle - in this section we're going to learn a set of moves that will develop certain muscles on your hands which will make learning further sleight of hand easier.

II : Training Muscles - we will learn 2 cuts which you can do anywhere in order to train the muscles on your fingers.

III : The Basics of The Basics - we will cover in this section everything from grips, breaks, shuffles and double lifts to the fan, spring, waterfall, magician's force and some flairs.

IV : One of them All - in this section we will learn 1 sleight from each category (color change, switch, control, force, false shuffle and peak)

V : Color Changes / Transformations

VI : Controls

VII : Peaks

I will be around to help. If you get lost you can drop a comment below every video & I'll be sure to get back to you.

So my friend, now is your time to go from Sleight Zero, to Sleight Hero and for you to become the sleight of hand master in your circle.

What are the requirements?

  • This course is for absolute beginners

  • You'll need a deck of poker playing cards.

  • No previous sleight of hand or dexterity is necessary.

What am I going to learn from this course?

  • How to hold a deck of cards.

  • How to palm a playing card.
  • How to switch a playing card.

  • How to force a certain playing card.

  • How to force an object unto a spectator.

  • How to shuffle a deck.

  • How to perform flourishes with a deck.
  • How to pop playing cards.

  • How to false shuffle a deck.

  • A few essential card magic concepts.

  • How to secretly peak at a playing card.

  • How to control playing cards to positions you want.

  • How to create a moment of magic.

  • How to practice sleight of hand.

Meet Your Teacher

Teacher Profile Image

Elisav Bizau

Close Up Magician, Cardist, Creator


Yo, my name's Biz and I love magic, cardistry and breathing. Breathing is the best, isn't it?

I've been practicing, playing and studying to become a magician for over 13 years now. I have had shows and lectures in Paris, Stockholm, London, Bratislava and Madrid, sharing with other magicians and enthusiasts my ideas and creations. I have been publishing original material since I was 15. Have worked with companies from Europe and USA (such as PenguinMagic, VanishingInc, Theory11 and more).

From 365 Drawings a Day and 10.000 verses in a month, to 365 Hours of Magic, I love creating projects that test the limits of my creativity and dedication. Born in Baia Mare, ever since I was 17 I have been traveling around Europe teaching card magic to other magicians. I believe that peo... See full profile

Level: Beginner

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1. Welcome: Hi guys, My name is best and I'm a sleight of hand magician. I've been performing slave hand for the past 14 years and have developed my own slides and have worked with numerous companies from around the world. But enough about me. This is not about me today is about tube because you want to become a hero in slight effect. This is exactly what this course is above, from 0 to hero. And I'm talking College changes. I'm talking control's forces, P, false shuffles. We're going to talk about how to hold the deck. We didn't talk about figure positioning, everything from every aspect of how you use your hands. We're going to start off by developing muscle and developing the different things that you need to do with your hand and then move on to slides. So it's going to be a fun adventure and it's going to be worth it. By the end of this course, you're gonna be able to be a true hero fact base and welcome to my Skillshare course from 0 to hero. 2. 1. Section I: Developing Muscle: Now in this first part we're going to develop muscle. Basically. I, I think that you haven't actually used your fingers in the ways that magicians and Curtis have been using for the past three years. As such, I'm gonna be teaching you just a few slides that you can do with just one playing card that will develop your muscle on the fingers. Not if you exercise these moves, you're slowly going to feel just how different you can use the fingers on your hands enough for the dog. Let's get into it. 3. 1.1 The Classic Palm: The first thing that we're going to be learning is something called the classic Paul. You've seen this on TV or may have seen people expose such a technique. It is. But the building block of sleight of hand. Magicians have been known to hide cards in their hands for as long as anybody remembers, magicians. We're going to be learning what is the proper technique to do a classic poem? When you put the card in your hand. If you're a righty, then go with your right hand. If you're a lefty, go to the left-hand. But it's important that you do know the right technique because you are going to be using it in both hands at a certain point. The outer left corner of the court contacts the pulp of the index finger. Notice how we just goes inside of there. And the inner right corner contexts the Pope of the thumb, right here at the base of the thumb. And these two are actually what hold the card in place. If I were to release my pinky finger, the card will be there. But if I turn my hand it would fall. But the pinky and the thumb, the rest set of fingers can just sit relaxed just like this. Now that you know what is the proper technique, what you need to do is just flex them inwards slightly. The card will just stay there in place in case your hand is too small for this technique. Don't worry about it. Just try and try it out, even if it sticks out a bit like over here or here, don't worry about it. We're all about developing muscle in this chapter. Now, what is important about keeping a chord palm is the fingers. If you relax the fingers, they have the card is going to be able to be seen. But if we put the fingers together, then you won't see the current obviously. But this is not as easy as it looks because we're not accustomed to keeping all of our fingers like this. If you'll relax your hand, you will notice that there will always be windows. That's how magician called these windows through which the code can be seen. As such. What I do recommend them, what everybody has recommended to other people that want to study magic is to just have a playing card in their hand for the entire day and do this for something close to what a weak acid that your fingers would just naturally SIP close one next to each other. This is the classic Pulp. 4. 1.2 Vanishing a Card w/ a Classic Palm: Here's a fun thing that you are able to do now that you know how to Paul, according classic poem, you can show a car that is face up on the deck and then take it in classic poem in your right-hand, instantly revealed that the court has vanished. Now this is just a very fun to do thing to friends. And it's all based on the fact that you've actually prepare the coordinator right hand. If you would like to set this trick up. What you can do is first to actually show how to pull a card. You can come above instantly upon the code with your pinky and the base view thumb. As your friends are trying to do the same thing. You've secretly steal one card and just put it right there in your hand. Now that you've loaded that up, we're gonna be able to learn in the future as we develop our muscles a bit more how to perform these chords in a secret way in front of the spectator. But right now, don't worry about that. Just have a current in your poll and this cartoon face up. Now we're going to come to the card and just release the court. And you do this by flexing your pinky finger, basically malice or the pinky is down, then if I relax my hand, the cord will drop. So I relaxed my hand and the car drops. But don't just make it very easy to do like don't just come like this because it will be a bit suspicious as such, Come over here, drop the card and pretend as if you've actually pumped the card only two afterwards reveal that the code has now vanished. Very beautiful and visual effect that not only can you do in real life, but you can do on social media and everywhere else. 5. 1.3 Popping a Card from Classic Palm: Now we're going to look at how to pop occurred from a classic ball. We're going to have the code in our palm and then we're gonna be able to pop it as such. There are different ways in which a court can be found. There are different ways in which required can be popped. But in this situation we're gonna be doing this very flourish you think as such would call pumps instantly in front of perspective. You can also do something like this, but I don't feel it's as flashy as such. I really want us to practice this one where it really looks nice. You'd have to call it poem in classic poem, as we've learned from this position, what you're gonna do is bring your thumb underneath the court here. Notice how my thumb just goes underneath and the card buckles instantly. As soon as the card buckles, what we can do is bring our thumb in front and instantly bend our index finger. When we bend our index finger, this allows us to pinch the outer right corner of the card between our index finger and thumb. Now that I have pinched the corner, all I have to do is just relaxed for my pinky finger and then also pull up with my index finger and thumb, thus making the court free itself from the base of my thumb. Let's go once more. We're over here. Thumb comes inside. If you feel like the court isn't bending enough for the thumb to go in, just come with a pinky finger closer to your hand. The closer that you come, the more the card will bend. Then we come inside. The index finger goes on top to block the court with pinch the corner, release the pinky finger. And then over here, we currently like pull it out. What we have to do is push with our thumb towards the exterior and extend our thumb like this and the card will tap. When you do those things at the same time. Just looks like a card instantly appears at a thin air. Just make sure that you practice this slowly. You come here, you pop it. And as you make yourself more and more comfortable with a plan, that's when you can do it fast. So make sure that you give yourself time before you start doing it fast. Basically. 6. 1.4 Coin to Card Transformation: We're not going to learn how to transform a coin into a plane curve instantly, just like this. Now, the secret behind this is that you're going to need a coin and a court. But more precisely, you're going to need to be able to pull them according classic form, as we'd have previously learned. Make sure they have the court poem. Hold the coin between your thumb and index finger. As such, just pinch the coin. This is a beautiful example of what happens when you take a simple technique and applied 20 fact. All we're going to do is bring the card in front of the coin, but behind the index finger. So we're just going to put it behind the index finger and in front of the coin. Notice the one thing that I have not taught you yet and that you're going to do it in this moment is pull the cord just a bit with your index finger, that there is space created between your palm and the court. You do this by shifting grip from the pinky to the index finger. I am here. If I just shift the index finger, that allows my pinky to retract and create space between the poem and the card. That is what actually allows us to insert the coordinates such a neat way in front of the coin. So go into classic palm, normal. Hold the coin, come in front of the coin in one swift motion and change it to the index fingers that your fingers can now move forward. Insert the card in front of the coin, and continue the motion. Very important that you have a very fluid motion all throughout. And you don't necessarily need to bring it down and then continue like this. You can do something that I just didn't know where you put it in. And then you close your fingers. Your magical gestures are always nice to have in front of an effect. From this point on, I do something that is called cleaning. I'm in this position, grab the coin and the choroid with my right hand. And then I pulled the coin inside of my palm as I turn this car, the realm that is coin sleight of hand. So it's maybe not as important for you right now. But if you are passionate about slider fan, you will learn this at 1 or another. 7. 1.5 The Vernon Top Card Classic Palm: Now we're going to learn something that is called the Varna and Paul, the Fernand top part, where exactly? It's basically this poem where you're just squaring the decomp and your polymer and the top card in the process, it was created by diverting and the professor of magic as magicians like to call him. This method is the most regarded technique for pulling a card from the top card From the Top position. Mostly because there is no motion from the right hand. There is just a natural squaring of motion from both heads. Now, I am teaching you this before we even learn about grips, before we even learn about anything, as I feel is necessary for you to try to do something that is way above your level. I'm going to go through everything as if you already know how to do this. I want you to just try and follow up. Obviously, we're gonna come back to this technique later. And you're going to understand how easy it is at some point when you learn each one of the elements that makes this bond, you're gonna see how fluid it goes afterwards. First of all, we need to do is get a pinky break beneath the top card. We do this by pushing the car towards the right, pushing with our pinky finger up and pulling back the court. Now that we have a pinky break, we need to position our thumb and middle finger on each side of the card at the corners. And what this will do is it will allow us to grip the card. And then using our middle finger from here, pull the cord down. If you would be just pulling your middle finger down on the corner of the deck and holding onto the core together with your thumb. This is exactly what would happen. The code would just lift itself up in this position. So once you're able to lift this up in position, all you need to do is time this action with your right-hand coming from above and instantly having that card in perfect position to be pond. Now, just because I'm explaining this a bit faster, it doesn't mean I am not including all of the necessary information for you to be able to execute this move. Pinky break lifted up, and then you put them in that position. Because you don't want to flush in any sort of way this moment where the current goes up. What Vernon does is just tie the deck. This is called when you turn your wrist towards yourself, you risk type just like this because they're blocking the view from the spectator. As such, when you come with your hands, you can instantly pick this up and give yourself some cover as you either square the deck up or referral the end of the deck. This is basically Vernon stop palm. Try and give it a couple of goals. Even if you can't do it, don't sweat it. You're gonna be able to do it in quite a bit. 8. 1.6 The One Handed Top Palm: Now, other magicians would call me crazy for trying to teach a beginner, laymen a one-handed TOPO. Now this is an advanced technique, but I learned it when I started out and nobody told me that is for advanced people. So I don't see why we should limit ourselves to just some techniques. If you start practicing the one-handed top palm from now, you're gonna be able to do it so fluidly by the end of your beginner adventure. Now, I know we haven't, we haven't actually went into how to hold the deck and everything. But what we're going to do is hold the deck in this group. Just copy everything. Thumb on the bottom right here towards yourself, all the other fingers in the front. Now, what's going to happen is your pinky finger from your right hand is going to push down on this card. Now, this is not a easy action. I'm actually applying a lot of force. And it took quite some time to find the appropriate force that I need in order for this car to be lifted up. Remember in the violin, the vulnerable. We did this with one hand using our thumb and middle finger. This time, what we're gonna do is use just our pinky fingers. Just like this. If I would use just the pinky finger and come forward, the cord would just lift up in Paul. But we need to be able to do this while holding the deck. The first thing that you will notice is that you won't be able to actually lift the card up. What I advise you to do is use both hands, hold the deck with your left hand and start pulling on the card with your pinky finger from the right hand. Just try and see how much do you have to push So the card doesn't come over here or over here. Play around with the pressure. Just how you're applying pressure on the corner of the current and then going down this corner of the deck using both your hands and then when you feel comfortable, remove your left hand and see if you can still do the poll. Now, just because we're beginners, that doesn't mean we can't actually try doing more advanced most. You'll notice that by trying to master a move that is above your level, when you go back to mastering moves there are actual level. All of those will feel much, much easier. So this is why I have adopted this technique and I'm showing you guys a couple of techniques that normally you would learn much, much later. See, I'm showing you from this point as well. Notice how my pinky bends instantly on the corner and then starts pushing up in order for the court to be released. Now, I pushed a bit too much in the court has come out. But as long as you're able to do this, then you're going to start refining it. So the card instantly ends up and perfect classic pot. With this one, we're going to end this chapter of the classic pop. Hope you guys enjoyed it and do remember to practice the classic poem and hold the cards in your hand and as much as possible until you get comfortable with it. And I will promise you that all of this hard work is going to pay into the future. 9. 1.7 The Tenkay Palm: The second part that we're going to learn is probably as famous as the classic poem. And it's called the Tinkerpop. Think I'm palm, looks like this. There are many things you can actually do with this way of concealing are playing card. As such. We're going to look at the mechanics behind this and make sure that you guys are able to get into it and out of it. The mechanics of it are simply you extend your thumb towards the left side and you grabbed the card. And the card is going to come in contact with a poem and basically just sit there. You don't want the car to sit too much towards the bottom or too much upwards. Just wanted right there in the center point of reference would be the space between your ring and middle finger. If you notice, if you move your hand towards the mirror, you will see that the code isn't actually noticeable. If you sit like this, people will be able to see it, but if you close your fingers similar to the classic poem, it won't be noticed. This is the tank I pump. Let's look at how we can actually use this to create magic with it. 10. 1.9 The Tenkay Vanish Part 1: The first thing that we're going to learn is how to make the card vanish and appear using one single hemp. And it looks like this. We make it vanish. And then you make it appear. Once more. You make it vanish, and then you make it up here. Let me show you from an exposed point of view what happens. You make it vanish and then you make it up here. We're going to be using the ten Chi palm that I just showed you. And the only thing that we're gonna do is use our index and middle finger to close these in, grab in-between these card and then extend our fingers together with the court. And I just want you to try doing this many times, extend. You're gonna feel pressure between your middle and index finger. At the beginning, you might not be able to actually catch onto it. Let me see what my left hand, I definitely find it much more difficult over here, especially in the index finger. As I have to pinch the code between these two fingers. And I can feel a lot of pressure in my index finger. Whereas with my right hand, I've already become so accustomed to it that I don't feel the pressure. Even if you do feel the pressure makes sure they grabbed the card. Like right now it's pretty it's not really that grabbed as you can see, it can just fall. But from here, if I extend my fingers, then I can actually grab it completely. Makes sure that you can do this. Just keep doing that until it becomes comfortable. Once you do that, in order to make an advantage beautifully, you're going to hold it between your fingers as if you've already produced it like this. And then emotion of coming upwards so you go down and then in the motion of coming upwards as if throwing the coordinate where you're going to palm it. You're starting in this position, you go down and then once you come up, you POM it. It's on the upwards motion that the vanish happens. You're here, you go down and then you pause it. If you want to produce it, you basically do the same thing. You just close your fingers and you produce it. Or maybe you would like to produce it from summer. Gonna look much more magical. There we go. The ten kind of vanish. 11. 1.10 The Tenkay Vanish Part 2: A more beautiful and a bit more of the vast way of doing the thing I vanish involves your left hand as well. Obviously, if you're left-handed to begin with, it will involve your other hand, the right one. It looks like this. You make the card vanish and then you make it appear as you grab it with your left hand. And you make it appear with the same one. It's got a very beautiful touch to it. And whenever I show it to people in really read baffled step because of how visual decor advantages and appears as if out of nowhere. We're basically going to be doing exactly the same thing as we did before. But this time we're gonna have to synchronize this with our left hand. We're over here. And as we go towards the card, we're going to pull the card and bringing our fingers back, grab onto our fingers or not even the fingers and just grab onto thin air. Like this. Grab onto thin air, it vanishes. You wipe a little bit to the right hand. And then as you turn your left hand, this way, your fingers are gonna go in and bring the code out and then produce it. So what I have found that I'm teaching this in person is that people are finding it difficult to match the motion of the left hand with the vanish itself. If I will try to do this with my left hand, I am doing it much slower as you guys can notice. Not important to catch the card, just important to be able to do it fast enough in order to make it look as if you actually did catch the card. Over here. You are. Here I go and I do it. And both of those things happen at the same time. In the beginning, I want you to take it slowly because your mind has to learn the movements first you go slow, or k, you caught it. Come here, turn. Make it up you once more, go slow, catch nothing. Then make it appear over here. Slowly. You will make that a bit faster. You go like this, and then you go like this. And then you can make it really fast. This is the second version of the tank. I vanish and it's the one that I advise anybody to learn because it looks very magical. 12. 1.11 Tenkay Color Change: We're now going to learn how to take a chord like the two of spades. Just wave your hand over it and change it into the queen of diamonds. And it utilizes the thing that I just did a moment ago over here and you're changing it. This is also adding the steel that we're gonna learn in just a second. In order to do this color change, you're gonna have to have occurred. Think I found in your right hand as such. And start off with another card at the fingertips, blocking view of the windows between your fingers so that you can only, you can actually just stick these two together and leave the other ones very casually. It will look as if your hand is completely empty, whereas you have a card hidden behind it. From this position, you're going to just place the card in the hand and be wary of the card flashing. This is how the action is called, where the spectator might see something that you were hiding is called flashing. So be careful of the unit flashing the car so you can stick your fingers one next to each other, point at the cord. And then in order to make the core change, you're just going to come above, drop the card by extending your thumb. And then from that position, just square the cards up using your left hand. So let us look at once more. We have the CT, we come over, we drop it and then we square it over. As we make the magical move. We are over here. As I said, we'll start from this position, put it down at the card, and then just wave in the car changes. This is a basic but still very beautiful color change that you can do with the Tang Chi. 13. 1.12 Stealing with Tenkay: Now we're going to look at how we can actually steal a card in an invisible way using the tank I, Paul, as you've seen before, it looks as if we're just spinning the code, but meanwhile, we've stolen the one from underneath in ten Chi palm in our right hand. This is very useful when we don't want to reveal the fact that we'd have two cards for the color change. You can just start out like this with two cards, one on top of each other. Then perform the steel and going into the color change and it will look much cleaner than if you start immediately like this. So let's see how we're actually doing the steel. We're gonna grab the cord from above and below using your thumb above your ring and middle finger underneath your index finger is the one that's going to be pivoting the card and giving you the spin that we just saw. We put it on the outer left corner. From this position, I'm going to use my left hand to receive the top card as I spin it around. See, I come over here, I grab the two cards and then I start pushing with my thumb towards the left side. I am pushing in a sense, not just towards the left, but oil at an angle so that the course starts spinning. Once the course starts spinning, I can take it in my hand. And notice how this cord rests on these three fingers with the index finger at this point, all I have to do is just extend my thumb across. The card will be instantly in tank. Hi Paul. When you do it fast, it will look like this. You can even help yourself with the left hand. As you are spinning the card. You don't necessarily just have to do the entire motion with your thumb. But it's important to note that the thumb is helping as well. You start off with a to show your hands empty, please. Three fingers underneath, mixed finger and thumb. Rotate and then your thumb is already in this position, just has to go over here. And the card is instantly in think-I, if you feel it has gone too much down into your palm, you can just use your fingers to press it up and lift it into the pulp. From this position, it's as we've learned, we're just going to drop the card and execute the color change. This steel is beautiful because we're learning right now, which is two cards in our hands. But you're gonna be able to do this for the deck of cards and use it in variety of ways. It is essential that you learn it at this point and have some fun with it. You can just do it like this as well. And then you've stolen the card. There's many ways in which you can actually use this and for different reasons. Right now we're just looking at one single way in which we can use it. But later down the road, we're basically going to play around with it and see what else we can do. 14. 1.13 The Tenkay Pop by Mark Spannbauer: The following thing that we're going to learn is more of a flourish. You move something they undo, that looks very, very beautiful. It might not have a lot of magical US, but still it really evolved the way that you can use your hands because it applies pressure on a corner. So you've got to be really sensitive with how you use your muscles and you have basically enough for the chapter, we're going to learn how to pop a chord from think-I pom and spin it like this. I came up very fast. We go. We're basically going to be learning how to pop a card from think I poem as such. The way that we do this is by having the coordinate take Chi palm. As such. Then we start bending it with our thumb. What we have to do from this point is keep rotating the court forward until it escapes from the hand by itself. You're pushing down, nothing happens. But if you were to actually pull this card in front, so you're not closing your finger. We rather moving it forward while closing it as well. And applying pressure at the last moment. Because if I don't apply pressure, nothing happens. But if at this point I just pushed down as if I'm pushing down on the button that will create pressure on the card and make it spin. Silver in tank hypo, we start pressing down on the car. Then we move forward and now we feel like the current is trying to escape, but not yet. Only have to do is push down on the cord as if it's a button and the car will instantly starts spinning out into the other hand, I advise you to do this on the floor or maybe on a sofa and on the bed, so that you don't have to pick up parts constantly and do a lot of squats. If you like doing squats, you can definitely doing it. Doing it. But it should come pretty easy as long as you follow those steps and you get the hang of it from there and you just do the same thing and it will become second nature. 15. 1.14 Tenkay and Other Objects: Nothing in the hand and still a phone appears. I just wanted to mention that as long as you practice the tank I, Paul and you can actually start using it with different objects. Anything that is the shape of a playing card or even fits intake capon may be completely irregular, shaped like a mouse or maybe like the bottom of the plant. Then you can definitely use the slides that you will do with a thing. I've seen myself, palm leaves because they just fit there, then you can make them appear, where you can make them vanish. So do not limit yourself to just playing cards and know that the things that you do learn with a playing card can be applied to any other object as well, as long as it fits inside your hand with the phone. I have placed it into ten chi like this, but it sticks cells, so I use my arm to block it this position so that the camera cannot see it. I even can pull this off in front of my friends because they're not really expecting any human being to be calming as such, a phone. If you're just coming up like this and showing your hand and then making it appear. It will definitely get a laugh. I will promise you. 16. 1.15 Backdrop by Kevin Ho: In order for us to learn the following palm, we're going to practice something that is called backdrop, a flourish created by a friend of mine. Kevin. Kevin Hall is an amazing card is, and he's one of the creators of the college accompany the voids. If you haven't heard about them, you should definitely check them out as they create a lot of beautiful car industry videos and many more. This is basically the move over here. And this is going to help us learn the backbone. And also the movie itself is so beautiful. And once you learn it, you're gonna be able to do a lot more with your fingers. Let me show what happens over here. We're going to place the playing card on our ring and middle finger, but it's not going to stay there. We're going to hold it there with our thumb. But the pinky and index finger are the ones that are actually going to catch onto it like this. They just hold onto it from side-to-side. And the other two fingers are free. From this position. We're going to bend our fingers completely. Notice how they are completely inside and then extend them. And this will make the card to start rotating. Obviously, I am applying pressure from my index and my pinky finger so that the car doesn't fall over something. I'm over here, I start rotating. There's no point in me sitting in this position. What I do is rotate my wrist. And as I keep on pressing with these two fingers upwards, I release from the index and pinky finger. This is going to bring the card on the back of my hand. Or over here, we grab the tool parts. We close our fingers inside. We extend them and at the same time rotate our risks as we keep pressing from the pink in index finger and then release the card as we extend the rest of our hand. Once we get the coordinate in this position, we're going to grab it with our thumb and pinky finger. This is gonna be the hard part. As we grabbing the stool. Two things are gonna happen at once. The pink is going to move towards the right side. And notice how the card will instantly fall, but we don't want it to fall down. We want it to jump. Now I'm going to bend the home. We don't want it to fall. We wanted to jump into our other hand. And this is gonna happen quite a bit, so don't worry about it like that. So in order to do that, we're going to start applying pressure with our thumb downwards on the card. And as we remove our pinky finger towards the right side, we're going to do this as if you're snapping your fingers. You're doing this. This is what's gonna send the card flying and rotating into the year. The fact that with my thumb I'm pressing down while with my index finger I'm going up. If I do that, is going to spin the court. And the harder they you do it without that went south, the horror that you do it, the more spins that you have, you have to find a balance to see just how much do you have to apply pressure in order for the car to just spin around twice, that it falls still on the same phase that it was when you send it to the other hand over here, that was too little. Then there was too much. Then the balance is right there. But obviously you will have to practice it quite a bit before you get that balance. Don't expect to get it in five seconds. In five minutes, yes, I expect you to actually be able to do this. So remember the pinky start applying pressure with your index finger over here. When you release the pinkie. You'll do that move that I showed you and the curve will start spinning. And there you have guys backdrop by Kevin Hall. 17. 1.16 The Backpalm: Now that we know backdrop is just a matter of tweaking it a bit in order to execute a backpack. A backbone is when you take a playing card like this, you make it vanish, and then you can make it appear. Then you make it appear. There's different ways to make it appear. This is the most classic one. And then you can also, oh, I dropped it over there. Then you come here and you can also make it a pure between your index and middle finger. In order to do that, we're basically going to be following the same steps when we did backdrop. Place around the fingers, thumb on top, those two fingers over here. The only difference is that when those fingers curl in and then extend, instead of turning your wrist, you're going to actually start applying more pressure between your pinky and index finger. This is going to bend the card. If you continue extending your fingers. Notice how the code becomes spawned behind your fingers. If you don't want the car to show in any way over here. First of all, don't have to worry because once you are moving your hand, there's nobody that actually can spot those two corners, especially when you're doing a little bit further away. But if you are worried about maybe you're palming something like this, which is definitely not okay, then it means that your fingers are way too towards the left, so you have to come towards the right side over here, the one that is closest to your palm. Same way. You pinch the card. You curl your fingers, start extending, then start pushing the fingers even more until the card is completely consumed. Now, do not expect this to be rather easy on the hand because I am actually holding the card over there, so there is effort between these two fingers. Now, we have bombed the chord. So how do we make it appear? The same thing happens backwards, which is going to curl the fingers in. But this time instead of just curling those two fingers, we're gonna call the pink here as well. We're going to grab that corner with our thumb. Once the corners grabbed, we're going to pull down the card. Just like that. I pulled down on the card and I release it with my pinky finger over here, I curl, I grab I released with my pinky finger as I pulled the card down and this will make it pop out and reveal itself. Wants to do it fast and you give it that snap, it will appear all of a sudden. Now, do notice that I'm actually pulling my index finger forward so that it goes behind the playing card. Because if I don't do that, it'll just look like this and I don't want that. I am palming the card. Whoo. As I'm waving, I close in, I grab the corner, index finger moves behind, even helps the court pop out. And then I've pulled the card down, Grab start pulling release with the pinky, extend the index and pull down to produce the card. Now if you really want to go for it, you bend your fingers and instead of using your thumb, you're just going to pinch the card between your index and ring fingers. Your index and middle finger close in and then just pinch the card over there between these two fingers. But to each his own, They both look really good. If you asked me, that is the basic method behind the backhaul. 18. 1.17 Backpalm Advanced: The following thing that we're going to learn, it looks like this. We're going to pull the cord and then actually turn our hand and show that there's nothing on this side either. Then come back in this position and produce the card. So basically we are learning how to turn our hand like this and conceal the card as we're moving it from side to side. The way that we do this is by executing the move but backwards. Notice how my hand curls back in and brings the card inside. And when it's in this position, instead of producing the card, I'm going to extend my fingers back. All four of them and pulling the cart. See, we're in this position. We curl the fingers, we extend the ring and middle finger, and then we extend the pink here as well. Probably at the same time. You've put on the card. Come over here, extend all the fingers. Now this can take some effort because basically the court stays put when you bring it back over here and you extend the fingers. Now, when you pull on the cord, I do advise you to follow it a bit towards the middle. And I put your fingers in the middle of the current, even if the course sticks out a bit more than usual, it's gonna be much easier to conceal it from this side as well. Once you have these mechanics down, being able to come over here like this, can even help yourself a bit with the thumb, but usually I don't do it. Once you can do that, it's all a matter of turning your wrist at the same time. You're palming nothing over here. You start turning your wrist. And when you're over here, that's when you start exchanging the card. Bring your thumb back over here. And then as you're turning back, you're basically just going to curl in all your fingers, bring the card into position and produce it. You have the theory now, over here, over here, over hue, over here. Plus with the wrist motion. When we come over here, we started doing it. See, I caught it a bit to towards myself over here. Then there I do help myself sometimes with the thumb. Now that I've noticed, as it helps me reposition the card much deeper into the hat. I started off here and then I'm actually using my thumb so that I can reposition it deeper into the hat. If I would not be using the thumb, I am here and see the card would stick out. But now I'm using the thumb and the car doesn't stick out anymore because I've pulled it towards myself. We are here. And then when we bring it here, I grab onto the card and I extend my fingers just like that. And this will hide the card a lot more. Then when I come back, I put my thumb on it, close in my fingers and this will bring the card back. There. You have it, guys. The back-and-forth backhaul. 19. 1.18 Top Card Backpalm by Biz: Similar to what we did with the classic poem. I'm gonna be teaching you guys something a bit more advanced using the backbone. In this case, how to Backbone the top card of the deck in your right hand. Let me show you how it looks. We're going to have a chord selected, Let's say for example, in this case, it's gonna be the three of hearts. Three of hearts stays in the deck. But in that motion, we're actually back bombing the cart. Now, this is the movie created after I fill the needs in order to have a way to Backbone recorded in front of the spectator. And then be able to just give them the deck using the hand that is holding the court. In order to do this. There's not a lot of things going on. You're basically gonna get a pinky break. Then insert your pinky finger from your hand. There you want to back on the card with in that gap. And from here on, you just basically positioning yourself as we did previously. Pinkie goes over here in the gap, index finger goes on the other side. Then those two fingers are curled and are preparing to Backbone the court. And as you do that, I'm basically just putting my thumb underneath the packet. I'm grabbing it and I'm rotating my wrist. That is what actually covers the motion of the backbone. Come over here, go underneath and the current spot. If you would like to try that out, just get your deck up and try giving it a couple of spins. It's not impossible. It's just That's why even give it to you right now. It's just that it is a bit more difficult. And a search people might overlook trying something like this from the get-go because it might feel unmoored, discouraging. That's the word. But I do believe that if you try something that's a bit more difficult is gonna be much easier when you really try to into the future again, but not only that, but the other modes that are going to pale in comparison to its difficulty. Pinky, pinky goes here. We have the cord, thumb goes underneath, rotate as you spin your wrist and the current spot. There you have guys how to Backbone the top card of the deck. 20. 2. Section II: Muscle Training: In section tool, we're gonna take some cartilage treat moles. Curtis three is basically the art of artistic called shuffling. We're gonna be looking at two different one-handed cuts, the Surely acres and the revolution cut. If we learn this, we're gonna have something basically similar to pulling weights, but four fingers, which is gonna practice the way that we move our fingers, usually do encourage magic. I mean, you've seen in section one with palming, you really are using your fingers. Pauling is definitely a section in Slido found that uses Moscow muscle. But when you are using your fingers and car industry, you're using your articulations, you're moving them. It's, it's a completely new thing. As such, we are going to be looking at two curves, which after you learn, you're going to be able to do them anywhere, anywhere you want. Once you do them, you're really going to train the muscle on your hats. And that's what this section is about, training muscle. 21. 2.1 The Charlier Cut: In this section, we're going to be learning a couple of things that are going to help us strengthen our muscles. First thing that we're going to learn to strengthen our muscles is called the Surely cut. It's a simple two packet one-handed cut that looks like this. Now repeating it as much as possible so that your eyes can see what is happening. Now, in order to do this, we're going to be using the deck and even try with half of the deck if you have smaller hands, we're going to lift up the entire packet using our thumb. Once the packet has been lifted, we're going to use our index finger to pull down half of that packet. Lift up, or just start in this position and then pull down with your index finger. Do notice that the pinky finger is right here, making sure there are no cards will fall because if we remove it to the cards will fall. Pinkie, ring, middle, index finger on top. Now we're going to use our index finger to push this packet upwards. Now if it helps you, start moving your fingers by pressing up with your pinky right here, close to your pinky. And this will give your index finger enough space to push the packet up. Now, I had a student that is 11 years old and his hands are smaller. In order for him to be able to do it. You really had to go at the fingertips. So everything had to be at the fingertips over here. Because if you move the packet at the fingertips, then you have much more room for the index finger to push the packet that is underneath. When you have smaller hands, you really need that extra space. Start in this position. Lower half of the packet. Move. If you want, you can move your fingers. I don't need to, but if you want, you can try that. And then your index finger comes from underneath and presses towards the left side c, Another thing that I tell my students is to turn their wrist towards the left so that the packet from there can actually stand on this one. Notice how I'm not even holding it. It's standing on it. Then the cup can actually be completed. Just like that. Pull down during the wrist, start pushing. If you need to let go. You can let go and then extend the ring finger, middle finger so that the packet can fall down it over here. And then this one is rested on the thumb. Up until 201314, people who were doing it like this. But then a Vive morality from Israel started doing this thing where he just wrists it on the thumb as if it's a display and started looking much more beautiful. So you can do it like that as well. Come here instead of putting the one, you push them on up. You have the mechanics, and you just have to do it. That's all I need to tell him. Just keep looking at how I do it and how I move my fingers. Over here. I push once the index fingers underneath, you will want to extend it. And the way that I extended it just by extending the finger upwards. Some people I noticed that they're fumbling over here and then pulling the cards because they're not pulling down their finger, they are extending it over here. You really need to push pull your finger down and then extend it. There we have guys, that is the shortly a cut. 22. 2.2 Revolution Cut by Brian Tudor: The following move there we're going to learn has been created by Brian tutor. Let me pull my sleeves up here so that you can see the entire mole. It looks like this. It's called the revolution cut. Its base. You're having a Charlene cut. But instead of just simply cutting the packet, you're also revolving it around 360, just like that. It comes from here. Actually, it's one entity. It's just one hundred eighty. Three hundred sixty would be one more. I know this looks a bit more difficult, but you have to be with me here, because once you learn it, it's in five-minutes is now going to look as difficult to believe him. So you lift it up. Another way which you can start the coffee, just lift up, half, leave the rest lifted up. And then from here, the index finger doesn't actually go up here. But instead it comes to the side. Once it did that, it is at the side. The thumb will start going down, just literally moving down together with the index finger, the two of them having gripped the packet and they will start turning the packet. Once it has turned, it will be gripped by the ring, middle, and index finger in this position. Once more, we lift up, move the index finger at the right side, grip the packet between the two fingers, then start moving these two fingers. Notice how I'm already going in position. I haven't even started rotating the packet that might ring finger already coming here at the top. Grips. And then from this point, I am basically returning my grip over here. But a simpler way of thinking is to just focus on the index finger. Once you have grip the packet between the three fingers, just focus on the index finger pushing this packet upwards. You're pushing it upwards. Because it's pushing it upwards. You notice that the completion of the rotation happens by itself. Over here, go around and start pushing upwards. Those fingers by themselves would start going to do initial position. Do notice that the pinky finger completes the entire grip by standing here at the bottom in order to not for the courts to fall, lift up, move the index finger already moved the ring finger in position. Middle finger over here. Don't even think about rotating. Just focus on the index finger, pushing this packet up. Pinky finger over here. And then from this position is basically the Surely a cut. And you have the shortly acre. Notice out the entire motion is actually the index finger. We have it over here. Then you do it slowly, slowly, and you'll notice that you will start doing the revolution much easier if you can help yourself at the beginning to make sure once you're over here, don't actually need to remove that packet. You can help yourself in the beginning just makes sure that you understand the grip and the motions and everything, then you can start doing it without the helping hand on the right. There you have it guys, the revolution cut by Brian to there. 23. 2.3 Cardistry in both hands: Here is the final test. This will attest that you will have actually learned both the Charlie and the revolution. You will try to execute both cuts. I mean, just the shortly in both hands. This is the first thing. In order to pass this chapter. Now not telling you that you should stop moving forward and just focus on this. What I'm seeing is that This is the moment when you know that you have learned the Charlene cut, when you can do it in both hands. And believe me, once you start teaching yourself how to do it in the other hand, walk, you will actually understand much more about the mechanics of the move then you had initially, just because you're teaching yourself, on the other hand how to do it. First, you gotta be able to do the shortly aid. Then you got to be able to do the revolution. I kind of fumbled there for a second. My right-hand revolution is not the sharpest as we might have noticed. One of the easiest way from my point of view is to do them simultaneously while this is the one that actually failed. So if I do them simultaneously, then it feels like I'm not actually putting that much effort. But when I do them one after the other, I don't know why I've actually both feel the same way. You are able now to do them each in every hand. What I want you to practice is this flow. Just this flow. Right hand, left hand, right-hand, left-hand. They've put in one cut and then put in a second, but I just want you to move slow. And every time you come in front of the camera, like in front of where a spectator would be. I want you to complete the cut. Boom. You start the cutover here and you complete it when you're in front, start in front, start in front. And then you're gonna have a flow going. That's what I want you to be able to do. This running surely a cut where the hands go one on top of each other. And then you can start doing the revolution cut as well. There we go. And then you alter back to the Charlene. Back to the revolution. That's when you know that not only have you mastered the cuts, but you are able to do with your hands a lot more than you were able to do at the beginning. This is why I've only chosen these two cuts, these two one-handed cuts in order for you guys to strengthen your muscles as long as you do these daily exercises because they are fun, there's so many things you can do with the shortly a, together with the revolution cut. I have actually a course on Skillshare with that now, that's not moment to start talking about other courses. But there's so much you can actually do with discuss. So this is why I am giving them to you in other only because I want you to practice. This is something that probably I should practice more. But also because once you learn this, you're gonna be able to do a lot more with your hands and with car industry as well. There you have it guys, the shoreline and the revolution cut. I have you guys enjoyed this and I hope you have fun with it. 24. 3. Section III: The Basics of The Basics: You have survived the first two sections. That is amazing because now we're going to get into the basics of the basics. Basically, these are the things that you cannot live without dribble, spring, shuffle, riffle, double lift. All of the things that magicians use seamlessly. Every time they pick up a deck of cards, you must master these as well. Now, obviously, we're going to go through them slowly, and it doesn't mean they were gonna be able to master them in day one. But you must exercise them from the get-go in order to learn the other more advanced slide of fat. Let's grab our deck of cards and get into the basics of the basics. 25. 3.1 Grips: Let's talk guys about the grips. This is one grip that you might have noticed that I've been using when I did some of the most involving the deck. Pinky finger on the bottom ring finger and middle finger on the right side, index finger laid over the top and the thumb on the right on the left side. Notice how the deck is also relaxed in the palm. And it's not really completely squared up like this and I'm not hunching over it as if it's a very valuable property. I am relaxed and holding it separated slightly like almost two fingers from my palm. This is called a mechanic's grip. Over here. This is one that we're going to be using quite a lot. There's not a lot of practicing is just I'm showing it to you. The second one that we're gonna be using is called the Biddle grip. Basically three fingers on the top, index finger curl on top and the thumb on the bottom. You're gonna have to use this for many counting things. For car industry quite a bit when you're doing especially the Z grip and other motions. And Paul mean, one-handed top palm is done from this as you guys have noticed. And many other slides use the bill group. Not only that, but it's a very usual position for when you're cutting the deck. You're over here and you're cutting the deck. So these two are the two groups that we're gonna be using, mechanics and Biddle grip. If there's any other groups that show up, I'm going to mention them, but this is pretty much it. And if you know them, then you're pretty much set. 26. 3.2 The Thumb Fan: The fan, everybody wants to be able to do it, but not everybody can. Though. It's base. It's really a very simple motion. It's just how you grip the deck, that is the most important aspect of it. You place the deck at your fingertips. Right now if you would really apply pressure with your thumb and the rest of your fingers. And you would come over here and just push the cards. You would see that because you have grip them at the coordinate, then they will go in an arc. Notice what I have to do is just move like this. The fact that I'm not even doing anything, not doing anything else with my right hand. Push pressing down here, and moving in a circle. That's the only thing I'm moving in a circle around the thumb. Notice that I have what is beginning to look like a fan. From that point on. It's the subtleties. First of all, the first thing that I do is I place the deck at an angle in my left hand, so it's not completely straight because that's going to hit the pulp of my thumb and it's not gonna be able to rotate. So I put it like this. Then the next thing that happens is I apply pressure on the corner, but it's also the thumb from my right hand. Notice how I started off very deep with the thumb. Then I keep going until I end up on top. The sum starts over here on the side, but at the end it's on top. That's because if I would keep the thumb on the bottom part continuously, this is what would happen. I'm just spreading the bottom pile. This is why as I keep going and as I keep spreading, I move up a bit. I move up a bit, I move up a bit, I move up completely. That's what's actually happening in a fast ball over here. That is pretty much it. Pressure from the index, middle and thumb on the corner. And then there's just the thumb moving upwards on the deck. Obviously, you will have to do the motion of the thumb in an arc because that's how the cards are actually end up in this beautiful fat. We have guys, that is the famous thumping. If you just can't are able to do this with the thumb, then you might want to try with the index finger. As some people find it much easier to do with the index finger. Mostly because I've noticed it's easier for them to slide their finger on the courts because they have the full fingers extended like this, it becomes much more natural to slide it so it comes on top. Whereas with the thumb, it's not as natural because you're more tempted to start over here somewhere in the middle and just sit in the same place and apply pressure with the thumb. Whereas the thumb is just a cursor. It goes from the bottom and from the top and spreads slowly. Got to have a guy's the thumb thing. 27. 3.3 The Dribble: In order for us to learn the drip bowl, I have adapted this position with the camera because we need to see what's happening from the back, from the point of view of the magician. Now the dribble is one of the most used tools in magic because it's very, very useful as it allows you to make the spectator say stop control cards and many, many other things. It's essential for us to know how to do a dribble. It starts off, many people do the corner doable. And I just don't like it. But if you want to do that, you just grip the cards with the thumb and middle finger and then you apply pressure with your index finger. And from that point on, basically the fingers will ride on the deck as if it's doing this. You start off here, you apply pressure. But if you're just applying pressure from all three fingers, nothing will happen. As such. You're basically moving your thumb like that, allowing the cars to slip out. Now, I don't like how this looks because it looks very amateurish and it doesn't look as if you have control over the deck. Doesn't look seamless and it doesn't feel natural. Who has ever grabbed the deck like this? There you go. Some cars fell on the floor. Like I said, not a lot of control over the deck. But if you're doing it like this, There's no way that you're going to drop cards or not have control as all your fingers are on the deck. And you start off by putting your pinky at the corner. Then the other two fingers next to it, index finger on top, it's always gonna be here and the thumb at the corner. Now the way that I do it is now by pressing down with the index directly on the back of the cards, but rather by pressing with this part of the finger on the back of the card. So it's not the first index, but the second part of the index over here. So I press down and I lift up with my thumb. Now the fingers over here start in this position as I keep releasing, they're going to end up completely straightened out. Notice they start off in this curl position. And then by the end of it, my hand is completely straightened out. We're going to grip the cards, start pressing and slowly allow one single card to fall down. If I just do this from the thumb, notice how the cards still go out completely fine. But once you are able to do to release them from both positions, like right here, I didn't release them from these fingers at all. I just pulled up with my thumb as if doing this, but from a much, much bigger distance. But if you do this at the same time, then you're gonna have a really smooth, smooth dribble, just like that. There you go. Let's see how it looks from this point of view. See how my fingers are curled at each part. And then I start pressing down. I extend them slowly and I extend my fingers just like that. If I will release the cards only from my thumb, there are going to go at some point. They're going to go forward. They're turning because I'm only releasing them from here, which might be another slide if you ask me. Because I'm only releasing them from there, the cards tend to latch onto the fingers and then release at the very end. But if you're releasing from both at the same time, the cards will fall completely parallel to the floor. Notice notice, sorry, I can just distance myself and all the cars fall down perfectly. Just a matter of fitness and practicing it so that you don't have to think about it. And then you can have a very beautiful drivel. 28. 3.4 The Spring: The next thing we're going to be learning is something that you have seen being done everywhere. It's something called the Spring. An accordion of sorts. Chords go from one hand to the other in this very beautiful motion. Now, the secret behind the spring is developing the muscle in the hand that you're springing the cards width. Because at the beginning, you're going to have trouble actually bending the entire deck. I can tell you that now when I'm trying to do the one from the front, which I can't really do. Honestly. I've never actually liked it. I can feel a lot of strain and right here in my arm, I mean, my arm is fully fully flexed as if I'm pulling weights. So when practicing the spring, you first must actually bend the cards, not feel any sort of tension. Let me show you what happens when I do it with my left hand and I have not actually practiced it. You see how the cards actually stop, go, stop, go in a rhythm that is not fluid. Whereas on my right hand, because I have developed enough muscle, I can actually control the cards just like I want. What I want you to start doing is just take a quarter of the deck like this. Try to do it with just that and slowly add cards. Obviously, I haven't actually shown you how to do the movie yet, but it's important to know how you're supposed to do it before. Now, here's how we position the deck. We are going to be using a spring developed and popularized by then and the book to all the giants of car industry. It is the spring from the thumb. This is done not by having all of the fingers here, because even I can't actually have that much control over it when the deck is placed at the fingertips in this position, as you can see, rather we're going to get deep into the hand. Over here. Notice just how much of my fingers are left from this position. We can actually have a lot more control over what's happening because we're not trying to bend it as much. Whereas if we're trying to bend it with our fingertips, we can really feel that tension in the deck when we start releasing the chords is gonna be so much more difficult to actually control the spring. So position the deck in a diagonal starting from your index finger, middle, just go down, just place it over there. Notice how the last card from the deck, the last card or the first card, how you're looking at it is actually in the middle of the pinky and goes up until over here. At the first, the first wrinkle of the index finger. From this point on, what we do is we apply pressure with our thumb on the deck, but we do it in a way that adds air in-between the cards. Notice instead of just pushing down on the deck, which makes the deck bend, I rather start pulling down from the top chord by contacting the deck with this part of the thumb. I come from here and I start going down and applying pressure. And as you notice, this actually creates area in-between the currents. This is also used in the waterfall where you are adding air between the current and then you're releasing them. Not necessary. I've seen many people do it without the area as well, but I feel like it gives you much more control over the Court's position. Then start pressing down as if you start from here and then you go all the way up to the tip over here. Do remember to start doing this with fewer cards. If you have fewer records that don't even have to worry about that, just bend the full deck with fewer cars, bend the deck at the coordinate. Then. Similar to how we did the Dribbble, you're gonna have to actually extend your thumb like this while also applying pressure from your fingers. You are extending your thumb in order to allow the cars to go out while also applying pressure from these fingers. Once you get the motion with few cards and are actually able to spring them neatly, start adding more and more cards and see how you do with them. And then you're gonna have more. And then once you have more than half of the deck, you're going to notice that you can actually start adding a bit of air until ultimately you get to the deck itself. Then we have guys, the spring is not an easy move, is not a difficult move. It just requires you to develop the muscle in your right hand. And since we've gone past the developing muscle, the first part and then training or muscle in the second part. I feel like this spring, as long as you start practicing the shortly A's and everything else, the spring will come natural to you in your progress towards learning sleight of hand. I hope you guys give it the time necessary and you have fun with it because it's really going to amaze all your friends. 29. 3.5 The Waterfall: As I've mentioned before, the waterfall is very similar to the spring. You start off with the deck position in the same position as if you're doing a spring. Almost put a bit of a difference with the thumb. Whereas with the spring you place your thumb close to the corner of the deck. When you're doing the waterfall, you place the thumb in the middle of the bottom side. And this is what actually keeps the deck in this position, in this lateral position, horizontal position. So let's just do the same thing that we did with the spring. We place the deck over here, please, in the middle this time. And like I said, do it with fewer cards in the beginning. Bend the cards, and then all you're going to have to do is slowly. This is what I'm talking about. Developing muscle on your hand because let's see, with my left hand, it's not it's not that hard maybe because the muscle in my left hand is also developed from having done so much car industry with it as well. What I'm saying is it might feel difficult now, but it's not because you can't do it or you don't know how is because you still need to train your muscle so that afterwards you can apply less or more pressure depending on how you want to. Do. Take fewer chords in slowly, slowly add to them. And all you have to do is start from here and then slowly open your fingers. And that is it is basically the spring position. You go, you bend the deck and then you slowly open the fingers in order to allow the course to fall. Now, when you're catching the cards, It's very important that you catch them in such a way that you will not allow the deck to escape your fingers. This is why we're going to be using the mechanics grip thinking on the bottom and the rest of the fingers around. So the deck is our right-hand and the left-hand is waiting, not sitting in this strict position because then the cards are actually going to fall. But rather we're twisting or hand towards the floor. We're positioning our fingers in such a way that when the courts fault they instantly or leaned against the ring and middle finger. Like this. And do this though, just wanted to say do this on a bed so that you don't have to pick up so many curves. Now, another thing that happens once I start dropping the first few cards, I actually don't always sit in the same position. So I'm actually going a bit towards my left side, just a bit. I started here. And then by the end of it I'm somewhere over here, so I have moved a bit in order to make the court slide on the surface of the other ones. I start here. Then by the end, I am over here. Maybe like five more, maybe three inches towards the left. There we go. If you don't know inches then six centimeters towards the left from here to there. And once you start getting used to doing it, you don't even have to let the court slowly go, see if sometimes they even dropped guards when I make them slowly go, you will actually throw the entire dig into the air. And the court will just follow one after the other. And this is done by just instantly releasing the entire depth. The more, I mean, if I release it very fast, the entire deck will just fall. So it's not really instant. How I release it. I slowly release it fast. That's like the best way to put it because my hands are going like this, but they're not going not instantly. Getting wide instantly because that way, you know, that they could just fall somewhere milliseconds, just a fineness of the hand, which you do because you have already developed the muscle in order to do that. It's a beautiful move. I hope you guys enjoy it. There's people that can do a one-handed waterfall, and there's many other things you can do with a waterfall. You can stop cards, you can just stop with the waterfall and then go into something else. So not only is it a beautiful move, but it also becomes useful when you want to learn card controls, such as the DMP waterfall control, where you have a card selected like the three of clubs. You leave it in the center, just like this. Notice how with just a single snap, I can make the nine vanish. But don't worry about it because it vanishes for a second. And then the three appears. This is just a way that you can actually use the waterfall in control. But there's many other ways for college changes and as such. So not only is it cold, but it's also useful, which is a rare combo. 30. 3.6 The Riffle: We're now going to learn how to do a referral. This is called the referral. From each side or with just the thumb. The beautiful thing about a referral is that you can actually just do it just for no reason like this. Because it's as if you're fumbling with the deck, but it also service purposes during effects when you're having the spectators, they stop somewhere in order to cut there. Or when you want to take a peek at something. These things, because they seem so natural when you do them in order to get some piece of information, the spectator is an actually able to spot you're doing something fishy. In order to make a referral, hold the deck and modify mechanics. Grip the pinky, moves over here and our right thumb will sit at that side. Now, this thumb actually applies a lot of pressure on the deck. And with our middle finger we're gonna go on the front. Then we're going to start pulling up with the thumb. So if I just pull up, the deck will want to come up. But if I apply pressure with my left thumb as well, then only half of the deck will come up. Notice how the cards are actually spread over here. This allows me to move my thumb down the cards in a very beautiful fashion. If they wouldn't be like this, there'll be something like that. It wouldn't go very nicely. I want you when you're putting the deck and you want to start briefly to just bevel it. This is how the action is called your beveling. The cards over here, you're beveling just like that. And this happens usually I hold the deck and when I come over it and I catch onto it, I bevel the cards, I can start doing the referral. Just like that. It's similar the same thing on the front side. But this time the thumb comes on the bottom. And now you're actually beveling the cards the other way around. So in the beginning it was here so that you can move your thumb here. But now you're beveling then the other way around by just doing this action where you're curling the fingers underneath and the thumb spreads. You're holding down on the deck so that your middle finger can start refilling those cards very beautifully. Now, you should be able to start doing this thing. In order to do it with just one single hand, then you're gonna have to hold your index finger underneath the deck and move your thumb down the corner. And that is what is called a coronary for the deck is actually sitting here because my fingers from over here, they're actually holding a tight grip on the deck. I can actually move my thumb on the corner. If they wouldn't be holding, the cards would just escape. And I couldn't do anything with the deck. Notice that my pinky is not sitting over here, but it's sitting right there next to the ring and middle finger. And I'm holding onto the deck. Index finger is not doing anything. It's just sitting there so that I have something to press with my thumb against. That would be the corner referral. Now, guys, you know, all three referrals, I think you've set to go. 31. 3.7 In The Hands Spread: This is called an in the hands spread. It's also called the loophole spread. And there are various ways to do it. You can make it like this in a sort of springing action. Honestly, I don't I'm not really a fan of it. As you can see, I can't do it. I do the classic one where you're just spreading the cards like this. I have always thought that this is a very natural action for people to do. But because it involves a subtle actions from the right-hand and the left-hand as well. I've noticed that people can't actually do it. They'll just move the car. It's somehow like this. So let's go over it slowly and see what's happening here. Mechanics grip, thumb comes from above, like this and just plasters itself across the deck. If we move towards the right, what happens? We have a few cars that come with us, but we don't want that. We want more cards. So that means we have to apply a greater pressure. We apply greater pressure and we move towards the right. What happens? Courts starts spreading from the middle, but now we have a block of cards over here. So what do we have to do? We have to measure and slowly make it higher the pressure that we're applying. We apply a bit and then we apply more. So it is two stages a bit and then more. Now there's another thing here that happens when I spread the fingers from underneath are actually aiding the entire spread. Notice how they come in as if they're hugging the deck from behind. They're not just resting there. I'm actually holding the spread itself. Because if I would be resting, they would just sit there and maybe even wobble and start adding into packets. So what we want is start applying pressure, come with our index finger first and then the rest of the fingers. You should have something like this. Now, it's also the motion that I do it It's like this. The motion see I go like that. Not straight. Not in front, but in a way straight and then arched. We go straight and then arch. That's how it goes. Straight to the right and then arch. By arch, I mean, just go forward in a sense. Now the left thumb is also going to help you a bit by spreading the cards over here. Usually I just do it once because if I don't do it, it looks like this is not bad, but if I do it, it makes it a bit bigger. We all know that bigger is better. Go here and just a little bit with the, with the thumb, I just spread those cards over here and just a little bit. The rest of it is just playing with the pressure from the right thumb. I'm playing with the pressure a little bit, too much here. Just a little bit. Now, it also helps many times, I'm going to give you a bit of pointers. Some point there's theories so that you can see if they work for you in the beginning as let me see if I tried to do my left hand. Don't usually do it, but as you can see, it doesn't really have such a beautiful aesthetic to it. But still, there is something there. I'm trying to follow all of the steps. I go towards the left this time and then I arch it. It doesn't really come out as I want it. Now we did because I bevel the cards. That's what I did from the beginning. I beveled the cards don't start off with a very squared deck. Rather do like we did in the refold where you bevel the cards. Usually any magician will have their deck beveled instantly because it makes it easier to make a double lift. It makes it easier to do many slides, not just that, but bevel deck is much, much more accessible. Let the chords, if you're sitting in mechanics grip, just let them slide towards the right. And you do this by extending your fingers and twisting your wrist just a bit, then this will bevel the cards. And then when you start doing the spread, the cards are already in a sort of spread. So it makes it much easier. Same here. Notice what kind of improvement I went from the beginning just because of how I bevel the cards over there. There you go. Big improvement from the beginning. We spend a little bit of time on the spread because it's one of those moves that makes you look seamless, makes you look natural. You know, it doesn't, doesn't look as if you are handling the deck. A challenging way. It looks just natural here to take a card or when you're doing something, you can make it look smooth. If you're doing the S fan, you can make it look smaller than those cars almost fell down. The spread itself is usually used to pick a card or do something. But you're gonna use the spread in many situations throughout the slides. Not just to spread the cards over here. It's one of those basics of the basics move. This is why it's in this section. So practice, like I told you guys. And notice that sometimes I move my index finger actually all the times I moved my index finger out of the way. Not because you have to, but because I feel it allows me more playfulness with the deck. It move it underneath and it just loops much more clean. There's no fingers here, you know, it's all clean on the top. So top part. You have a guy's the pulse spread. 32. 3.8 The One Handed Fan ala Smear Fan: We're now going to be splitting the deck in half and learning how to do a one-handed fan. Now the 100 fan in the beginning will look something like this is not a problem because you're doing here is something that is a bit more clunk complex than usual. That is, you're using your fingers to do the entire fan with just one hand. The thumb over here has the role of spreading the cards. I'm just arching over here. I start from here and I go in an arch Around. Start here, and go in an arch around. The thumb is the one that spreads the cards upwards. And then the fingers from underneath are the ones that spread the rest of the cards over here. But these are the foundation of the fan. Let's take a look at how the packet itself is being helped. Someone top. I mean, depending on how you look at it, but thumb on top, ring finger, middle finger over here, pinky finger in, index finger on the sides. You have to be able to hold the packet in-between the pinky and index finger as such. Notice I can just hold that packet where they're. Now we're going to curl the fingers on the packet. And with our thumb we're going to come at the corner of the cards. Once we're at the corner, we can release from the index and move both fingers on the face of the cards and move the thumb upwards. Now as we move the thumb upwards, at the same time, these fingers are going to slide down. This start here and they just close in as if you're doing this motion. Close in. They come here, notice they'll go on the front. And then they just close in. The fan happens because both those actions happen at the same time. Let's see what happens here with my left hand. Looks good, but I feel like the courts might actually escape my hand any moment now. And I feel like especially here, I feel that is because let's see. I feel that it's because I'm placing my thumb a bit too close towards the corner. If I place it too close towards the corner, that won't actually give me a better grip on the cards. When you do the fan, don't put it exactly on the corner or close, go a bit higher so that when you grip the cards with the rest of your thumb, notice how I have quite a bit of grip on all of the cards and this will allow me to hold them much better. If I go into corner over here, take a look at this code. It's almost completely out. If this happens, the entire spread, the entire friend might snap into too late. This one card has fallen on the floor. Position. Over here. Hold. Place your thumb on the immune in the proximity of the corner. Move towards, move upwards and then move the fingers downwards. Let's see if I do it fast. There we go. Now, one thing regarding the thumb is that it doesn't always stay like this. So you're not doing the entire fan width with the tip of your thumb. You're actually using the fingerprint area. So you start off with the tip, but then you're instantly on the courts completely an entire finger is on the court. So I felt like that was a bit necessary to mention. That would be everything that you need to know in order to do the fan. Follow everything that I said. And you should be able, after a couple of tries to have something that resembles a fan. From there on, it's just finessing. 33. 3.9 The Key Card Concept: The following thing that we're going to learn uses the dribble. I am going to teach you guys not as sleight of hand, but more like a slide of mind. We're going to be learning one of the oldest principles in card magic, and that is called the key card. The key card is something like this. I spread the cards. Take a look at this code. And because I know the card that was above the eight of hearts, then I can go through the deck, the nanofarads, and search for the car that is underneath. That is called a key card. With orderable, we spot the card from over here. Spectator takes a look at their card because I know the card that I looked at, what's the seven of clubs? All I have to do is spread through the cards and know that they actually selected the nine of hearts. We do this by executing the dribbled that we learned. Spectator calls out, stop and notice how I don't do the dribble over here. And then when they say stop, I take a look at the card. A rather, I start tilting the entire deck towards myself. As I do the dribble. When the spectator says stop, I'm already in a natural position to pick up the card. I can just tell them to take a look at their card. And now I know my key code. This is a piece of information that you can use in a variety of ways. You can just take a look at the bottom card. Have somebody selected card, please run tapping cut the deck. But this is, I feel a bit much obvious. But still we can use it in so many ways that spectators won't be able to spot that you're using a key card. But I really wanted to put into application what we learned before and evolve. It's slightly by tilting our hands so that we can already see the card. If you're able to do this, it means that you have progressed very far from the beginning. There you have it, guys. The key card, very, very, you know, I've told you very little about it, but I feel it's enough for you in your mind to start playing with what you just learned. 34. 3.10 Holding Breaks: We're now going to be looking at brakes. Brakes are one of the most used tools by a magician and that's because it allows you access to a certain card. In this example, the top card or usually if you recall, one more than the top two cards. And this allows you to execute a WAF. Or if somebody selects a card from over here. And I complete the cut, then by holding a little break with the pinky, I can always have access to where they placed their card. As such, when you have a break, you really have a pass key to door that's supposed to be locked. Let us look at a couple of ways in which we can actually get a break. One of the easiest ways is by ruffling this. Notice that I'm not placing my thumb because I'm doing a very small riffle over here. I'm placing my index finger this time. As I am briefly the cards. When I get to the last card, I placed my pinky finger here and I get a pinky break. Notice how the break itself is. It's not tucked inside. It's just a little bit of the finger goes in that break just a little bit. I do that by pulling down on the deck with my pinky. This adds meat from my pinky inside of that gap. This is why I can have a very, very small break because that card is now gonna it's gonna square up because there's a part of my finger that's stopping it from doing that. I've noticed quite a lot of people, they use their entire fingers like this, but this is too much of a break, especially when you're in the middle over here. And the spectator can see everything. I mean, right now, I'm holding the deck very well, but many people hold the cards like this. It's very important that you get accustomed to using just a bit of your finger because it's enough, believe me, it is enough. We go like this. When you go to the last one, we stick our pinky fingers inside and we have a pinky break. Now, Let's see, for example, you would like to have a pinky break, but then you want to transfer it to a summary. You do this by just grouping the courts from above. And notice how I have actually maintained the break in the process. This way I can move it from one to the other just like this easily. Let's try and do this number one card. It feels a bit more gimmicky, but rather with half of the deck. So just pick up half of the deck, put your pinky in there and hold the pinky break. Then grab the deck from above with your other hand, and then place it back and try and regroup that break over their grip it with the other hand and place it back. This is something that you are going to be using as a magician. Because you're gonna be in situations where you don't want to look as if you're holding a tight grip on the deck and want to have that place over there kept. As such, you're going to pick the deck and talk with it and the spectator, you can take a look at it and there's nothing weird. But then when you place it back, it's still there. Or maybe you want to pick it up, go on the table and drop all those cards exactly at the break. So there's many ways in which you can actually use a break. Now we know how to get a break from here. We know how to have a break and move it in the other hand, that's called the thumb break, pulling it to the thumb break there. Now notice that I've done This Pinky action many times. This is a bit more complicated as I feel. It involves some muscles from your hand that you might not have developed. Those are the muscles from the pinky. I take a look at his broader right here. He pre point up. This happens by gripping the deck with my thumb from across here. Index finger as well. And this allows my pinky finger to just slide down the corner. Notice that I have already beveled the cards towards the left. The cards are not sitting in a beveled position towards the right because I can't actually do anything. But rather, I'm beveling the cards towards the left. In this way I can get a grip on any position in the deck. Try and do this yourself because it's something that we're gonna be needing when we're doing the injured move, bevel the cards and then pull down. Notice that my thumb always sits there so that it can hold the deck as I'm doing this, you should be able to get a break anywhere. Now. If you're able to do that, then you should be able to just pull one card. Now this is something that magicians everywhere in the world are struggling to do because it requires a certain amount of finesse to let go to 12345 cards. So if you start practicing from now, you're already going to be better than maybe 10% of professional magicians. Because magician is they want to have it sure fire. And this is something that sometimes they can't control scene that was two chords and I thought it was gonna be one. As such. Many people to just pull up the top card. In this way, just pull up the top card and you'd have a break. You can do this by counting two cards or as many as you want. And that is another way in which you can get a break instead of ruffling the entire deck. And doing that, you can just pull the top card and get a pinky break in that process. This is one of the most old-fashioned ways of getting pinky break. So guys now you know everything, you know how to get through a referral, you know how to just pull it up and leave it down. You know how to pull with your pinky finger anywhere in the deck because you're beveling and holding over here. Especially you know, how to transfer the break to the right hand and still keep it. You guys have now enough knowledge regarding the breaks in order to proceed to court sites and other things. 35. 3.11 The Tilt by Ed Marlo: The control that we're going to learn is called the tilt by Edward Marlowe. And it is a beautiful control where a card looks as if we are putting it inside of the center. But in reality is just going second from the top. From that position, we can just execute a double lift and make it look as if the card has risen to the top. The way that we do this is by using a couple of elements that we've already learned. First thing that we're gonna do is have a color selected. Let's see, In this case it's the sixth hertz. As the spectator is looking at the card, we're going to get a pinky break beneath the top card. You can do this in any of the waste that we have learned previously. Now when you get this pinky break, it is important that you not only have a pinky break at the pinky, but that you also allow the core to lift from the base of the thumb as well. Notice how initially, when you would do a pinky break, the code would be blocked or here at the base of the thumb. So I have to pull my base of my thumb towards the left side and then pull up with my pinky or move it alongside the deck. In order to create this gap. Once we have that gap, we can insert the card inside the gap. You don't have to neck tie the deck like this because it will be completely unnecessary. Just pointed at the spectator. And it will look from their point of view as if the card goes in the center of the deck. A very beautiful way of selling this is by pressing in the middle of the deck, having some cards come out as if that's where you would like to put it. And then placing it second from the top, you will have the car to fall down. And from that point, you can do a double lift, ensure that the card has risen to the top. 36. 3.12 The Pinky Pull Injog: Now that you guys know how to hold a break and how to use your pinky. It's time to learn how to pull a card from the middle of the deck. Now this is an action that I believe that anybody could do, but apparently, it requires a certain way of pulling down that might not feel natural to the hand. Let me see it with my other hand. I pull down. Yeah. Definitely. Requires some effort from the hand. Definitely. You'll hold the deck in position as if you would just be moving your pinky finger around the corner by putting your thumb across the corner over here, index finger and the rest on the side. Go somewhere in the center of the deck and really put your finger inside. Notice this is not a thumb, this is not a pinky break. This is a full on pinky dwelling inside of the cave here. Once it's over here, I'm actually going to start pulling down. This is what I'm doing. I'm pulling down because of the moisture in my hand. The cord is gonna stick to the pinkie and come at an angle. Once it's in this position, all I have to do is straighten it out by pushing it from the side. Once more, we go somewhere in the center. We put our Pinky's inside and then we just go down. Then from there we're going to square it up and have an injury. This is what the business is referred to as an end jog. There's many ways in which you can get an injury bug. But by doing it with your pinky finger like this, it's one of the most subtle ways because the spectator cannot see it. You can have somebody select the card, you put it back over here. Then you can instantly get an angel hug and don't have to hold a break at all because the card is over here and you can just access it at any point by pulling down on it. This is why this move itself is very useful if you would like to do cord slides and card magic. We're putting it inside, pulling down and then instantly we square it up. As you start playing with it, you'll realize that you don't have to pull it so hard, you just have to pull a bit and then instantly push it in order to get a small injury. There you have it, guys. The masterful in Jack. 37. 3.13 Double Lift Crash Course: We're now going to learn the most used slide encouraged magic. And that is the double lift. There's various ways in which you can actually do the double lift as such. As such, like I showed you before with the pinky. There's ways of doing a double it from the center of the deck developed by pupil. That's two cards. There's many ways in which the load W, If we're gonna look at a couple, at a couple. The first thing that we're gonna do is we're going to refer the corner of the deck. I mean the side, like we did it when we learn how to riffle. Instead of placing all our thumbs over there, you can place your thumb there, but you can just use your index finger urethral. And then when you get to the last two cards, you're gonna get a pinky break beneath it. Instead of getting on the one chord, you will have to get used to slowly ruffling towards the end. And noticing that there are two cards and you put your pinky there. Once your pinky is underneath, you're going to pull down on the deck just a bit so that your middle finger can come into this enclosure and grip the court. We grip the car by placing our index finger on the corner and gripping the side of the card with our thumb and middle finger. From here on we are going to turn it and we turn it slightly separated from the deck because this will allow us to regroup the card. And notice that I've placed my thumb over here so that I can grip the card. Because if I don't place it, I'm just going to lift it up and that's not okay. I regrouped the chord and I can turn it around. If I do not, then I will have to repeat the same process. I come here, I pull up, and then I do that, which is kind of cumbersome. You know, you don't really want to do that twice. You put it right there. Alpha jogged. This is called alto jog and when it's inside, it's in jogging outside, inside. From this position we can grip it. If you don't want to grip it with the right hand, what you can do is you can put your thumb over here. Then you start pushing down a little bit on the card. So you just pull down on the card with my index finger. This is going to pull on the corner here. If I pull and push, then you'll notice that you're going to have a perfect gap. And it will just be sitting on your pinky in preparation for the double lift. Again. Let's see that one more time. Riffle, get that pinky break underneath two cards, pull down your inside grip of the two fingers, index on the corner. And then you're going to turn it around, separated from the deck. From this point, you can just put your thumb in grip the card again, or you can put your thumb, pull down with the index. Notice how the court instantly flips up and then push inside. Can instance we have a pinky break underneath the top two cards. That is the referral double lift. It's actually called a double turnover because you're turning the color over the deck. If you would lift it. As such, there will be a double lift. But that is just, you know, people have confused the terms and are anything is called a WAF when you're picking up two cards. What I did right now is called the push off double lift is when you're instantly pushing two chords as one. This is done by actually making it a habit to push to court. So notice how my tip of my thumb is right here on the side of the cards. And if I just push one card, I can, I will just go on the surface. But it because the surface can't come in contact with both cards, I have to go on the side. On the side, these fingers are actually stating how many cards I'm pushing. If I dig them a bit deeper in the deck, when I push, a lot of cars are going to cut. If I come very high, if I push, nothing will happen. So you have to find a balance over there where if you push two chords will separate S1. But this is just habit. There's not a lot of technique involved here. It's basically just finding the perfect space pressure and how you press with the thumb. I'm actually pressing with this corner of my nail. Now with the nail but with this corner of my thumb. And that is exactly the position I needed in order to push the court. When I'm doing this, the index finger and these fingers are all really gripping the deck. By gripping the deck, I am making sure that no other cards are gonna get separated except for those two chords. And we will have a double lift. Now let us go into something a bit easier. Obviously, if you can do the pinky pool that we did before, you just have to count two cards and you have a double lift. But let's say you don't want to do that, then what you do is you start beveling the courts. As such. This will allow you to come over here with the index finger and pull up two carts. We do this by pushing down on the packet with our thumb. This will allow our index finger to come over here and notice how I can just pull one card, then pull a second chord with different parts of my index finger. And from here on, all I have to do is just come down with my full hand. This will stick the two curves together and I can turn those towards one. Now in the beginning, sometimes you will count two cards you will come to you want to. But then as you start doing this, you're going to notice that you'll instantly be able to grip those two chords. It's similar to the push double lift, where instead of just going for the top card, you're going to dig a bit deeper into the deck and instantly pulled those two cards upwards. It's just a matter of practice and obviously upholding the deck in a certain way. Notice how the pinky is not over here because we don't need it. So many times we are going to be holding the packet in this position. The pinky is over here. If we are doing some magic, then that's different because we might want to be if we're doing some car industry, I mean, we might want to stop the cars from falling. But many times when you're doing magic, the pinky has to be sitting at the corner because you want to do things with it like whole brakes, pull cards. I'll steal cards out as you're cutting the deck. Still according to gamblers, **** over there. Pinky's places at the corner. As such, we bevel the cards pushed down, hold the deck really tight. Pull those two cards up. Now we have a double. There you go, guys. A couple of ways that you can actually execute a double lift, aka turnover. Play along with them and master what is very important to master one or I almost forgot the easiest of them all. Easiest of them all. You push one card and then using the other parts of your thumb, you're gonna push the next card from underneath. I am going to press up with my fingers and then pull these two cards back. This is going to create an instant break beneath them. One to pull back instant break with the finger. This usually happens because I just curl in my pinky and we'll create a natural break. We need the two cards. This is the easiest one of them all and the most obvious slash boring. If you don't mind doing this, if you're gonna do this on social media, Everybody's gonna be able to see what you're doing. But in real life when you're talking to people, it doesn't really matter like nobody's gonna be able to see this. But if you are performing in front of the camera, you want your moves to appear as seamless as possible. As if everything they are doing is just as it is. I'm pulling and pushing off one card. I am cutting the deck. And we already you can talk yourself out of many situation and misdirect people. Pushing tool when you're pushing one and then you're using the other part of your thumb when you are extending it to push the next one, pressing up with the fingers and pulling back to have your double lift. There. You guys haven't mini crash course in WFD. 38. 3.14 The Magician's Force: Okay, The last thing that we're going to do in this chapter is learning the magician's force. Let me show you a very basic thing. Let's say, for example, I will have a card sitting over here, the sixth hertz and I have a pinky break above it. My pinky break is over there. I cut the cards like this. And I asked the spectator point at a deck. Notice how I see. I don't see choose a packet. I see, point out a packet, just point at 1 that this one. Then I'm going to keep that and give them this packet. If they point at this one, I'm going to give them this packet. It doesn't matter what the point that they're always gonna be getting this packet with the six of hearts on top. This is called the magician's force. At its core, the magician's force relies a lot on phrasing. If you ask somebody to choose a packet, if they choose this one, it means that is what they want to keep. But if you tell them to point at one, you haven't even told them what you want them to do. You just told them to point at a packet, search. The magician's force is used in so many ways throughout magic. It's called API Voc in Latin, I think. And it's still a term that magicians use because Latin is cool. You're gonna be using this many times when you want to force a spectator to choose a card, choose an object and make them feel as if they've had a completely free choice. This was just a small, small section where I wanted to show you guys the sort of the words that we use. We can actually influence the spectator to choose something that we want. And at the same time make them feel as if they had a completely free choice. 39. 3.15 Shuffles: We're now going to take a look at a couple of shuffles and ways of cutting the deck that are essential for every magician. The first one is the swing cut. We're holding the deck in Biddle grip, three fingers on top, thumb on the bottom. And then we're going to use our index finger to cut this packet by pulling up a quarter of the deck and moving it to the left side. Then we're going to grab this packet or thumb, rest of our hands and continue this process. Will go, pull left and go 1234. Just like that. Come here, pull up, move towards the left. Pull up, move towards the left. And that is the swing curve. Now the next one you probably familiar with is called the overhand shuffle. Don't have to cover this one. But if I do feel that there are things that you might not know during a technique, then I will cover them at the right moment. The following thing that I want us to learn is called the Faro shuffle. You split the deck into two-halves and then you farrow them like this. Then you shuffle them. In order to Pharaoh deck. I want you to separate the deck into two halves. It doesn't happen, it doesn't matter if it's not perfect. You hit them side-by-side and then try to just put them side-by-side like this perfectly square and just do this. You'll notice that it doesn't actually work. Compared to what people might think that you're just doing, that you're not actually doing that. You are pushing with the upper side. Notice I'm pushing with the upper side down. If I don't do anything from that point, it just stops there. But if I turn my wrist while pushing at the same side, at the same time, notice that the cards actually start evolving one-by-one. I am merely just continuing to push and rotating my restores myself. You start off with the first card's contacted in this sort of L. Well, maybe not that much, but somewhere around there. You rub them a bit and then you continue pushing as you rotate your hand. If the course don't work, go in because they're probably side-by-side perfectly. Then you're going to have to rub your hand. You're going to have to move your hand and left hand, right? Again. See, just like that, and the cards are actually one inside the other. From this point, you can hold the middles with the left hand in this position, some three fingers and index finger underneath. Form a C. With your right hand. Grab the entire packet and bend it into the shape of the sea without letting go of the fingers formula Left-hand. Once you have coming to the c position, you let go of your left hand. And you'll notice that the cards will stay. Then all you have to do is extend your fingers a bit, allowing the cards to start shuffling one into the other. That will be it guys, that is the fair shuffle. Congratulations. You have learned a move that is so powerful that you'll only learn by keeping, keeping up with magic, just how much and how powerful than movies. The last thing that I want us to learn is called the bridge shuffle. Looks like this. Then we shuffle the cards on camera. I didn't really mind the angle. There we go. That in order to do that, this kind of feels like a bit more difficult than the other ones. We're going to have to hold the deck into Biddle grip. But from Biddle grip, move your fingers a bit deeper so that you can actually hold the packet. Then we're going to catch the entire packet between our index finger that is curled and the rest of the fingers. Then we bevel the deck. Notice how I'm beveling it. And I'm coming with the other hand, I can refer were using a lot of things that we've already learned. I'm refueling. And from this point on, I grabbed those cards. I position them into the left hand. Now this is going to be a bit difficult. I know for me it has become accustomed to just flip that packet into the other hand. But if you're having trouble with that, don't worry about it. Just position the currents in the other. Hence like this, place the fingers in the same position. Index finger on the back. Right now the most difficult part I've noticed people have with this is having a smooth, smooth referral. And it all comes from beveling the cards. If you bevel the cards in the beginning, even if the cards are beveled the wrong way and you start bending them, you can just reposition your thumbs like this so that they actually much bevel the cards. We started in a Bevel position. Watch the grip, the course. Right now the kind of straightened up. We put the indexes, but because we bend the cards, they're already pretty beveled as you can see. All we have to do is start releasing them one-by-one with our thumbs and pushing them one into the other. From this position, we're going to keep onto each side continuously as we did before. But instead of holding it with our indexes as we did in the shuffle, we're going to place our thumbs on opposite sides, one over here and one over here. This is going to help us keep the shuffle intact because if not, you see they actually go upwards. Shuffle, put in and then our thumbs go on opposite ends inside the middle. And these fingers are actually the ones that are going to bend together with the rest of the cards in this C position and it looks like a bridge. It is called a breach of all. From this point, I have a lot of force over here. I just have to release the force. The codes will start shuffling. There you have it guys. The bridge shuffle, the fair shuffle, the overhand shuffle, and the swing cut. 40. 4. Section IV: One of Them All: Divergent and the professor of card magic, how he was called. The professor, said that if you know one, switch, 1, fourth, 1 control, you can hold an entire evening of card magic. Now, my memory might be deceiving me and he might have said something else, but he's basically referring to the idea that you just need to know a few slides and be able to play with them in order to create an entire evening of wonder. As such, we're gonna look in this section at one color change, one switch, one fourths, one controlled, one peak, one false shuffle. That if I would have to choose from all of them, which one you really need to know. These would be, then, let's get our index and start learning the essentials of sleight of hand. 41. 4.1 One Color Change: If there would be just one color change that you should know, you should be able to do in any situation would look like this. Show the ten of spades. You place it in the spectator's hand, which is folded over here and just wave it a bit. And the court would change in the three of clubs. Now, you already know how to do this. We have covered the double lift in the previous chapter. As such, all you have to do is execute a double lift, hold the first card, which respected it hasn't seen, and build tension around it. Put it in the spectator's hand so they can actually feel it. Attracted attention towards the fact that can actually feel the surface change in their hands. Not just the simplest snap solves a lot of things. Just put the car there and you see it. And then changes. Many times. How we do something is very easy. For the respective this point of view. They might think that we're doing a lot of things that are very complex when we reality, we're just picking up two cards. In this case. It doesn't really matter how difficult the movies. You can do this thing in so many ways in The Spectator won't even know you're doing a double. If every time we can show the four, putting the center, snap your fingers and the cart comes to the top. And then you can get into another situation where it's the four, you just touch it and it changes into a three. Just because we keep reusing the WWF doesn't mean the spectator is onto it. As such. If there would be one color change that you should do, it will be this one. Just execute the double lift and from there on, just tell a story. 42. 4.2 One Switch: I'm going to show you is called the top change. It has the word change in it because you can execute it as a change as well. You can execute it like this and the car changes. That is the half sensors way of structuring the card and stretch the core changes. But many people have done this with misdirection. You can just have the Joker and just kind of just have the jack. Then you're talking with somebody in that motion, you're changing it for the two many times. This change is done by going from the left side and showing something to inspect it over here as we're going towards the right side and you're switching the card in the process. As you might have noticed, because the camera is pointing at the deck. But this switch Change uses quite a bit of misdirection when you're doing it like that. If you're doing it like this one like we did the first one, you don't really need misdirection because it happens in front of their eyes. But today we're not going to learn the switch, this one, or we're going to learn this one. We're gonna learn a method from the 1990's from Derek Dingell called Top change thick. It's a bit modified from there because his method would use inertia from our body moving. But what I want to teach you guys is a way in order to do this, change the switch that would fly by anybody. It will look so good and it's based on a one-handed second deal. A second deal is when you deal the second card of the deck and make it look as if you dealt the top card. Just like that. Now, now I dropped two cars by mistake. It just like that. This would be a table where I'm holding my hand. What you're basically doing is similar to what we learned when we did the easiest method for the double lift. We're pushing the top card and then the second card as well. And contacting that second card with our fingers from underneath. If we pull both cards, we'd have a double lift. But if when you contact the second card with your fingers, that term space here, you will lift your thumb up by doing this, by bending it and only pull the top card. You will notice that this card is left outside because it has contacted the fingers and a search is stationary just because you're not pulling it, because you haven't pulled it over here with your thumb. Try doing it. You press one chord, then you push down on the second one, I'm pushed down as well. Then you bend your thumb and only pulled downward. Now that you know this mechanic, we're going to use it to execute this top change tick. We're going to be showing the three of clubs and placing it over here. While you're doing this movie are basically talking with a speculator over here. And while you're talking, you're going to be pushing the other card as well in preparation for the move damages flow. You're pushing it there. You're switching to this side. As you are coming back to face the spectator from the left side, you're going to pull the top card and grab the second card from the spectator's mind. It will just look as if you're just holding onto that top card. When in reality, you are talking over here and then you just switched it for the second card. It's a very beautiful switch that if you use with misdirection inside of an effect, you're going to have a very beautiful, beautiful effect because the current is here and it's normal for us to take it. So if we were just to push that and hold it here and gesture with our left hand while the right-hand stationary, the speaker will not assume that something has happened. It was hearing a bit over here. There we go. We have it over here, we're talking. And then we grab the card as we move towards the left side. That is the top change take by Derek single part of it. Part of it because there are other things that I haven't shown you because there's not necessarily, I feel like with this move. And in particular with the top change, you will learn a lot more about misdirection. If you do use the top change, be it, you learn it to do it like this. Many, many magicians do it. Obviously I just did a battery of the entire move because I don't really use it like this. I do it like that, and I love doing it like that. We're just overwhelms a portable one. We're just snapping it and you're changing the card. But there's plenty, plenty of versions out there. And the one that I wanted to teach was this one as I feel it is just beautiful. If you end up executing in front of people, you will learn a lot about misdirection and the things that you'll learn, you'll be able to take and apply to all of the other effects and slides they are going to perform. 43. 4.3 One Force: I'm going to force the two of clubs on you. I'm gonna make you select the two of clubs. I'm going to go with my finger down the corner of the day can actually just cut off, stop somewhere. Let's say the speaker says stop here. They can see stop wherever they like. Because wherever they see stuff, it's going to be the 12th close basically. Let me show you how that is done. Basically, we're using something that we have already learned. Actually two things that we have already learned. One is referring down the corner of the deck. You can do it by having your index finger here on this side. Or you can curl your index finger underneath the deck and do it like that. Either way works. The second thing is by having a pinky break above the car that you would like to force procure on. I think you already know what you have to do. Speculator calls out stop. Let's see. This is stop here. It doesn't matter where they say stop. I'm just going to leave all those chords and pick up the packet exactly where my pinky finger holds a break. So let's say the top clubs is here, right? Say stop, you stop over here. I come with my entire hand over the packet. I let go off the left thumb and I just pick up exactly where the break is at. Then I give this car to respect it there. This is one of the most used the forces by Lehman magicians. And everybody uses it still when they get professional because it's so soul shirt fire and nobody would expect that you are not giving them the car they stopped. That makes sure to practice it, learn it. And obviously the other way around learning and practices. Obviously when you're holding the break, don't hold the break that is visible from the front. Because then the spectator can see what you're doing also, when you're making somebody say Stop, don't, don't do something like this, because it looks very fishy. Try and act as natural as possible. So you stop. Then you come here and you cut the deck, and that's it. And that would be the car that day. We'll see stop at. 44. 4.4 One False Shuffle: The following thing that we're going to learn is an overhand false Shuffle. You're not going to shuffle the entire packet. You're merely going to keep a certain portion of the deck still in place. For example, if you would have the seven of clubs on top and you would like to keep that. You would start shuffling the cards as such, completely natural, then you would still have the seven of clubs on top. But not only the seven, but you can maintain an entire packet of cards. For example, if I would like to maintain all these cards, let's say the face up one's out, cut that entire packet, and then start shuffling. Then go directly up. There we go. One card has completely escaped me. Then keep those cards. Obviously try and do it much smaller than I have. Go over here, press up on that card, and then the cards have been brought back into place. Obviously, you will need to be able to do an overhand shuffle. But I think anybody watching this already knows how to do on still. I'm going to go over the simple mechanics. Two fingers here, thumb, index on top, we bevel the cards. And then the left hand takes cards one by 1. First we take a block, and then we start releasing cards from here, C. But in this way that we're going to control, let's say we have the three of spades. We're going to pull a packet. And then the next chord that we pull, we're going to pull it back slightly like this. Then we're going to shuffle, pull up, push up on that card, then control that packet back to where it came from. Again, slowly. We pull that packet, we take one card which we pulled towards ourselves. I mean, it's not necessary to pull it towards yourself. You can just do this, move your entire hand here and deal one card. But I think it's so obvious when I see a magician do that because you're moving your entire hand backwards and then forwards, everybody can see what you're doing. The spectator is just too nice to tell you. If the spectator things, you're doing something fishy that kind of takes them out of the mood of enjoying the magic. In order to make it as seamless as possible, we're going to pull that one chord. And as we're pulling it, we're going to pull it towards ourselves as well. This sometimes if it's completely new deck will spread the cards. You don't have to worry about that because you're still going to have access to the cord. Notice how the card is over here. I can just pull down on it. Then when I get there, I can still deal that one card underneath. I'm over here. I pull the cord bone and if I push down on it, I can do the shuffles. And when I get there, I just take that one card and I'm instantly back in position. So I feel like I have treated you as if you already know how to do everything. So let's go again. We pull that one packet, we take them on current, we pull it towards ourselves. We start dealing the rest of the cards on top. We finish. We can hit the side. And then we're going to contact this in jogged card. We can push up on it or we can pull down. If you push up, you're going to have a break over here. Oh, well, I just dropped the break. You're going to have a break over here. You're going to hold in your right hand. And then you're gonna start taking the cards from here. You're going to take them with your left thumb. Because if you were to drop them, you might accidentally drop those cards as well. So take the old one card, start doing the shuffle, hit them. Let's say you pull down on it. It's easier if you push up, you start taking the cards. Then once you get there you can deal that one card and you're back in position. This is retaining the stop stock inside of an overhand shuffle. That's the official name of it. It's very, very old and people have been doing it for hundreds of years ever since. Cheating at code games has been a thing. 45. 4.5 One Peek: We're now going to learn one of my most favorite peaks. And it's called the turnover peak, basically, spectator, we'll select the court from the center. Let's see. They take a look at that one. I don't even know what it is. But when I turn the deck in the other hand, or I give it to them, I know that they have selected the nine of clubs. And everything sits on something that we've already learned and that is a pinky break inside of the middle of the deck. From this position, all we have to do is put our thumb underneath the deck here and push the packet towards the right as we continue holding that break. And you will notice that the cards will separate much more at that place then the other ones. And you can take a peek at the card they have selected. In this case the ten of hearts. If we get a card here, and I turn the packet, I can see it's the king of clubs. And I can just give them the deck to shuffle. They will not have any idea how I know the card. You can use this for mental ism effects. You can ask them to shuffle the deck and then you'll be able to find their card, call it to the bottom and whatever you want with it. Once more. Spectator selects a chord. Let's see, they select this one. They take a look at it. We keep a pinky break as we put the rest of the spread on top of this pinky. Then we're going to push the deck with our thumbs stores the right, like this, 12 clubs. And we called very, very tightly on the packet. Because if you're not holding, the cards are gonna fall back. So you really need to hold onto the packet. Once you push. Whenever I start, I instantly push with these fingers so that I signed the jog the entire packet. But I felt it was much easier to tell you to push with the thumb, see which one feels much more natural to you. So I pushed the deck. I pushed the deck with the thumb from here, and I'm already gripping the entire packet so that this becomes visible to me. Then I turn my wrist and I give the deck to respect it. This is one of the healthiest and easiest peaks that you can do. See two of diamonds. You can even move it to your other hand and we're surely nobody will ever catch you on it. 46. 5. New Chapter and Section V: We have now entered the specific sections. We're talking about college changes, forces, controls, and peaks. From here on we're gonna be looking at all of the sections, the first one being color changes. And that is basically the ability to be able to transform one plane card into another. That doesn't just limit to playing cards. There's a few principles here that if you apply to other objects such as coins, you're gonna be able to mimic the same result. So don't take this into consideration as you are learning these new things, that how could you actually put them in the different views? So grab a deck of playing cards, guys and let's get into the art of code transformation, aka call. It changes. 47. 5.1 The Slap Change: The following change there we're gonna be learning doesn't include any new elements, just uses something that we've learned before as a color change instead of advantage. What we're going to do is have occurred pond in our right hand and then turn the top card over. This is called the slap change, believe it or not, this is the name of the movie. It's called the slab change. It really has been around for 40 years now, probably more. And it is different from this change. Because this change, you slap the cord. You might see, you might feel a little bit of irony in my voice as I feel, it's very funny that the same method with a different action has a different name. The same method. You can do it. Anybody can do it as long as they can pull the cord the cord pump, you put there the other hand, and then you just slap the card. And as you slap, you're gonna let go by extending your palm and dropping the card. In the other hand. You're going to find it a bit difficult to release your fingers, drop the card and flex your fingers back on top in order to hold that code. Notice I do it very fast. As I come down, I extend my fingers slightly for a second, and then I dropped the court and I instantly squared them up so that expected or can't see that there are two chords. Initially we use this in order to do a vanish as we come here. But you can also use it as a code change. You have it over here and then you just slap it instantly changes. It really looks very good. I'll be honest. 48. 5.2 The Wave Change: The next change that we're going to learn is called the wave change. And it uses the pinky break, of course, in order to create something that looks like this, the current is changes for a second. It looks beautiful. You can even do it with your hand completely open as you wave over. And then you change it back. The way that you do this is by using the nail of your pinky finger. You pull the top card up as you execute a WAF. Obviously, we've started with a double lift and then you can pull this one card up and hold the pinky break below it. But really put in your pinky just like we did when we did the injured. Put in your pinkie so that the back of the court can contact the nail of the pinky. Right now, if I will push down on the cord, notice how nicely it can move because the surface of the nail is so neat. And this will allow us to actually move the card just like that. The pinky the cord sticks to the palm because it's sweaty and it's got moisture on the skin. But because the nail is so nice and neat, we can just slide on it. Just try it out to get a pinky break and then put your entire hand over the corn and start waving it. Obviously we have LB, the coordinate hiding it under the hand. When we want to finish, we just put it back on top by sliding it from the pinky to the deck. Right now I am using the deck itself to slide the card on it and put the card back on top. Now if I want to spread my fingers, I will have to cover the hand with my palm in such a way that the spectator will not see it. Notice how the palm can actually cover the entire code, which is separate. We do a nice boom. Like that. The code has changed and then we transfer it to the deck and change it back. This is called a thing. The wave change probably has a different name, but I am not familiar with the name. I do apologize for my ignorance regarding this. It's still a very beautiful change and I hope you like it and execute it. Beautiful. 49. 5.3 The Cardini Change: The next scholar change that we're going to learn is one of the building blocks of card magic. Maybe I'm a bit overdoing it, but every card magician knows it, and it's called the coordinate change. It looks like this from the back, which is snapping your fingers. And you can change the code back or not, you can from their phone discard, which I didn't do such a good job at it and put it back. There's many things you can actually do from this position. You can put the card on the bottom, executed another change. There's so many ways you can play with it. You know, it invisibly. Not only is this a color change, but it's also an utility move. And then Utility is a tool that you can use in a variety of ways. Enough with the chatter, let me show you guys how to actually do it. You're going to execute a double lift. That's the first thing. Execute your best double lift. As you might have noticed, I executed a horrible double it. And I did over there this much better. But the cards usually you want to have two very contrasting course. We have a beautiful color change. And we're going to be using our pinky finger for this. The thumb and the pinky finger do everything. The thumb is the one that actually stops all of the other cards from coming together with this chord when we pull it down. Now, pull it down with the curtain goes up. You need to have a part of this chunk of meat from the thumb laying across the packet. If you put your thumb over there, it should be good. Just put your thumb there any time. You can just drag it a bit so there's a bit more meat covering the coordinate. Once you have that, you're basically sitting in this position with the pinky at the corner and you're gonna pull it down similar to what we did over here when we pulled the coordinate an injury. You're just pulling it down. And notice that if you do it slowly, it should actually be stopped by the thought. Once you pull enough, it's just going to flick out like this. So you cover it with your hand because you want to cover that chord so the spectator can't see it. And you're going to flip your finger like this. And instantly the code will change from this position, you can bring the current back like that. So we have a change front and back 12 in the wrapper, just bringing your fingers back to their initial position. Or the other one in the most used is when you bring the car to the bottom. You'll do this. After you flick the card, you grab the deck in Biddle grip with your right hand. In this position is where your fingers are. What you're gonna do from here is basically just move your hand towards the left. You'll notice that the court goes on the bottom. Then you're going to rotate the packet by just twisting your wrist towards the inside and grabbing that part goes one Biddle grip. Then I move my hand with the fingers towards the left. And you'll notice that this will allow you to just put the code on the bottom. Once you put the current on the bottom, you're just going to rotate the packet and complete the college change. Just like that. As I said previously, you can use this color change for a variety of things. After you do it here, you can still record from underneath and dual color change, like three color changes. You can do it once and move your pinky back and do it again. Whenever you learn a move is very important to start playing with it. There's many other magicians that I've played with them, but there's nothing better than discovering an idea by yourself. 50. 5.4 The Ego Change by Daniel Garcia: We're now going to look at a color change by Daniel Garcia called the ego change. And it's basically a modified cardinal move where we're going to eliminate this noise. And we're going to eliminate having to rotate the packet in order to drop the card on the bottom. Let's execute a double lift. The grip with this is slightly different and you'll notice that I have executed the change, but I haven't rotated the deck. The sound was much smaller. I mean was less audible. Search, you have a color change that is quite unique in itself, executed in grip, the deck with the Biddle grip. And from here, move it to what is called as a dealing with the dealer's grip with the current, with all of the fingers otherwise. So with the thumb on the left side, you're gonna be using leveled up. Honestly forgot how this is called the high dealer's grip is basically when you rise the deck from the palm up to the fingertips over here, you can basically fit another hand underneath, whereas usually you can just fit a couple of fingers. You are in this position. You're going to use all three fingers to pull the cord down. We're basically doing the same thing that we did initially with the coordinate change with just one finger. This time, it's all three fingers. We're pulling on that card. And instead of flicking it up like this, we're going to pull it completely off and put it on the bottom. Let me show you what the other hand, so you can see what's happening from this side as well. Imagine that you're still performing with your left hand. You're pulling the cord and notice how instead of going down and flicking it up, I continue pulling on the card over here and allowing it to slide until it goes underneath. Once more, I pull it and I continue pulling on the card and extending my fingers. Also moving the deck a little bit towards the right here in order for the car to go underneath. This is basically what's happening over here as well. Gripping the deck, a grip that code. I started moving my fingers stores though right side. And at the same time, notice that my thumb is moving towards the left side in order to allow the core to fall underneath. Obviously, this is all happening under the cover of my right hand. So you can cover that instantly. Show the card. Now when you are using your right hand as well, things are a little bit easier because you are doing the change. Once you're about here, you can instantly grip the packet and lift it up a bit so that the court can fall underneath. As such, you have a color change, that n is clean. I mean, it doesn't mean you have a course there, but you don't need to extra move the cards in order to clean up that chord that is just sitting there. Garcia really came up with a nice solution to that by moving the grip up high and then just letting it fall the deck down back on the card. That is guys, the ego change. 51. 5.5 Push Change by Ed Marlo: Okay enough with the hard color changes, Let's learn something that is a bit more easy. A bit easier. Actually, that's what I wanted to say. Here's how the color change looks like we're gonna be cutting the deck somewhere in the center. And you can see we have the three of clubs, but if I just turn my wrist, it changes into the three of spades. Again, just to turn off the wrist. And now we'd have the two-eighths just sitting over here. This is a beautiful color change developed by Edward Morrow back in the nineties. Madelyn the 1990s, but in the 1900's. So because I don't know exactly the Earth, probably 70s or 80s. The premise of this is basically just pushing one current on top of the other. And you'll do this by cutting the deck and moving it forward and having your index finger just clip onto this card. You know, you're basically just pulling down on the bottom card. If you want to make this easier for you, you can bevel the deck towards yourself a bit so that you can actually have access to that current. Then all I have to do is just push this card down and it will instantly line up with the code from down below. Even if it doesn't line up perfectly, you still have a nice change. You're pushing the card. This changes. You can even cover the code and make a change. You can push it with, Let's grab onto that one current. Required hardware. After awhile, you can turn your hand, go again, we cut the deck, move it forward, and then we can put with our thumb something which I do very often. I put it with my thumb and then I report my index finger not necessary. You can just instantly pull with your index finger, show the card, and then do the color change. Notice how sometimes if it's a new deck, the other current from underneath will move as well. The thing with this is that you don't want the spectator to see that you are preparing the card from underneath? No. Do you want the court to stick out over here so make it as seamless as possible. Also, when you are doing the pushing action, don't make it obviously you're moving your finger inside. So when you do the terrain, don't turn your hand and then push. Last thing. Obviously. Let's see, when you're doing the color change over here, cover it so that the spectra that we cannot see the current moving down. This is a beautiful change that can be applied together with control. Let's say for example, we have the speculative selected card. From here. We have the four hearts. We use the tilde to control its second from the top. Yes, exactly. We get rid of the first chord with a double undercut. And then by cutting the deck over here in policing the top packet on top of the Jack, we basically have to speak that there's courage is sitting there. So all we have to do is just color change it. In one instance. This is morals push collaging. 52. 5.6 Mary Color Change by Biz: The following color change there we're going to learn is called the Mary color change. And it looks like this. We have a card and then we're just going to change it as we waved her hand over it and then it changes back. Obviously, we don't need to put the card back on top. We can just wave our hands slowly and insert the card somewhere in the center. Let's get their coat back over here. Now, Mary College induces the 10-K. Paul. You're basically waving your hand over the code and think I palming the court is something that we have learned in the previous chapter. And all you have to do is contact the code with the base of our right thumb over here, find the spot where we need to contact the card so that when it comes to the deck, another thing that we learned when we did this color change. Everything that we learned ties itself with something that we learned in the past. You're contacting the card, you're moving down in there at the corner. Once it's lifted up, you can grab it with your thumb. You can continue the motion. And afterwards just drop the card and align it with your left fingers. Come towards the corner, pick up, drop and align. Do this in front of a mirror to actually see what is the position of the hand that you need to have when you're performing this, that the code isn't too deep into the hand. Or over here. Or when you're pulling, it doesn't stick out. There are some things that you can only fix once you start performing for the mirror and ultimately for the camera, because the camera never lies. You have over here and there we go, pick it up, grab it, and drop it back down in order to insert the card in the middle or underneath the top card, we didn't get a pinky break. And just as we're going towards it, we're going to put it inside. They're released from the thumb. Drop that card. We are over here. We pull that core now, insert the coordinate side and notice how I don't need to put my thumb on it anywhere. Also, I can't but that doesn't mean I should pick it up here. I just leave my thumb there and I continue the motion of the hand until the cord is completely underneath the ace. I pulled the three pull it in, and then I continue the motion. Obviously, you don't need to put a completely underneath. You can put it somewhere inside. And then you're going to have a code that is face up in something that you can use for a transposition. There you have it guys, the Mary color change. 53. 5.7 The Turnaround Change: Here's another easy color change that I think you're gonna like we'd have the three and instantly it changes into the eight Beautiful change that many people overlook mainly because of how obvious it is. But the visual aspect of it really gets to people. I mean, yes, I am just turning the current basically what doesn't with a nice tone of the wrist, instead of just flipping it like this, if I will do that, it wouldn't fall you. But if I do this, really Scott's some sort of aura around it. So we turn one card face up and ask return this one card face up. We push the second one as we learned and then we pull it so we get a pinky break beneath it. Put this card on top. So now we basically have two cards stuck back to back. We're going to grab these two by inserting through here in the corner. And we're going to bring the car down to the right side. In this position, we're going to close our left hand over the card, grab a both cards with our thumb, and then come back with the wrist. And all of this happens in 1 second. And that's what gives it the visual aspect. Just did two over there. It gives it this visual aspect because we're not doing this. Gives it a nice visual aspect because you're over here, you're closing the hand and you're bringing it back. For some reason. People really liked it. I have had so few people actually get how this is the ball. There we go. Nice visual color change that you can instantly do. Just a little bit of practice. Just got to get used to this risk return and then grabbing the current instantly. But it's very similar to the coordinate change where once you grab the corner, let me show what's happening from this angle as well. Once we go over here, I can actually just use my pinky finger in order to latch on the coordinate, close it in. There's not a lot of thumb movement that you have to do. Once you get that cord neatly with the rest of the deck on top, you can actually release your grip on the currents and just appear to be holding the deck normally. Do play around with it and make it so that it looks effortless because it should be an effortless college change. 54. 5.8 Push Push Change: Here's another career change that is easy to execute. N looks marvelous. We're going to use the heir of clubs and spades. Watch the tennis fades slowly as the eighth just goes over, it instantly changes it into a four. Now, this color change as it edits base, only uses two things. A double lift which will execute first, you pull up and this is two cards in, grab the double lift, turn another current. This thing which is basically the same thing as the moral push change, but in reverse. Instead of pushing the chord, we'd have two codes over here, and we're just going to push these on top. And then when we come back, we're going to drag the top card using our index and ring finger towards ourselves. And that will leave the chord underneath on top of the other one and create a college age. A very visual thing to do, which you can instantly do with no practice. You can use this for a vanish as well. You can just lift one card and get a pinky break beneath the other one. So there are now you'd have two cards back to back. You turn the next card and you can just, you don't want vanishes instantly. This move has been used mainly by magicians to make cards vanish and also change as well. But I've seen it rarely used as a color change. But I do believe that it's got such a nice visual aspect with which you can do. Just look at that how beautiful it is. There you have guys. 55. 5.9 The Duck Change by Hiro Sakai: The following color change that we're going to learn. You're gonna see all over the Internet. It's called the duck change. It looks exactly like what you've just seen a moment ago. The current changes instantly in mid air. You're basically seeing the card lab on top of the deck and it has already changed. There are various ways in order to do this, but I'm going to teach you the way that I do it as I feel it's much easier. You put this part of your thumb where you get the creases, the wrinkles on the corner of the card. Not really on the corner, but maybe one centimeter towards the left side. Then you're gonna put your ring finger and your middle finger towards the right side on the upper part. And from this point, basically what you want to do is release the two cards. By doing this action. You're basically just pulling both cards, putting your finger off of the both cards at the same time. Because you're applying pressure down on the chord. You're not doing this. Notice how I can actually feel like you're not doing that. You're not pulling the cards up. So you're not pulling the cards up. You are rather bending both downwards. And then as you're applying this pressure, you flip your finger on them. This is what causes the cards to just turn this because you're applying pressure on this side. Because it's only applying pressure on that side. It's going to cause the third cards to see how if I do it, I try and do it as slowly as possible. You can see the cart turning in meter because of the point where you apply the pressure. I've seen people do it with the tip of the thumb finger, but I feel because of the meat and the moisture on the fingertip, you might actually do something like this. Let me show you. Now trying to fail, failing differently. Many times I've seen people do this, they will spring the court instead because of their grip on the two carts, have noticed that if you use this part which has so little moisture over here on the corner, there's basically no friction between your thumb and the cord itself. All you have to do is make sure that you do this thing with your middle finger and make both chords turnaround, then you will have a fairly very visual and beautiful college change. The duck change. 56. 5.10 The Paintbrush Change by Roy Walton: Here's another beautiful color change that I know once you're going to learn, you're going to start doing it on and on. So it looks like that we have the ten and the current instantly changes into the sixth. It's called the pink brush change. And again, one of those changes that magicians have played around with and have created many variations F. And you'll see just as many people perform this change differently. The way that I do it has this flip to it and the code changes instantly like that. The classic method is where you're basically brushing the card like this on the deck and then the code changes. I feel like it's pretty obvious in the 21st century that if you do this, you're going to leave the current on the deck. Whereas if you do something like this, it looks amazing as if the courageous paints itself over the other one. The way that we do that is by using a principle that we've learned in the coordinate change. And we're gonna be using our Pinky's for this. Execute a double lift and grip it between your three fingers at is if you're making a Christian cross, two fingers underneath here and the thumb on top. From here, we're basically going to be pushing this core towards the left as we come upwards in a completely parallel position to the Earth with both correct? If we push this car towards the left, we're going to be using our left fingers to just make it instantly close on the deck. We put it on the fingers. And then from that point we're just closing the court. Just like that. The way that I do this is that by just placing the court here and then waiting for the fingers to do it. But in a way I am putting the card underneath here, pushing it, and then making sure that as I come up with the card, I'm also helping that one too close and also using my fingers to close it at the same time. So both the code and the fingers actually helped the current, not putting it underneath completely because there'll be too obvious. It's a matter of just a millimeter, like a fraction of an inch. There you go. Just a little bit. As I come forward with the card. And you will notice how just helpful that is when you're doing the change. Coming over here. I usually do it towards the bottom as the bottom is usually overlooked by everybody. And everybody is paying attention to the PIP. So I'm putting it on the bottom over there. I'm pushing it and then I come with my fingers in an instant as I lift the cart up. That is the paintbrush change guys. You can also use it as a vanish as well. Notice how we just want current. I can put it on top. I can make the cartoon instantly. Then I can use a double lift to show that the coordinate is actually been there. But what I mean by using it as a vanish is having a chord back to back over here and another code here. Then doing this over the card and making that one vanish in this 1 third 1 way. Another way that you can do it is instead of pushing the top chord, is pushing the bottom cord towards the left and executing the same thing in order to make this car change. But if you have two chords back, like this in a double lift and you do the same thing, you push the code from underneath, then you're going to make that one vanish. So here you have the guys with just one simple mode. You can create 234 other color changes vanishes by just knowing this one. Have fun with it, make it work. And I'm sure that once you get it to make it visual, you're going to start having a lot of fun. 57. 5.11 Snap Gravity Change: The next change that we're going to learn relies on gravity. It looks like that. And we're basically going to be changing the card as we snap our fingers over from the front, from the spectators point of view, it will just look as if the card has instantly changed. From your point of view, it looks exactly as you see. The cord is 30. And I want to learn this color change together with you because it will expand just what we can do with our hands. Basically creating this sudden movement takes quite a bit of practice and let me see if I can do it with my left hand. Well, let's see. Much, much more difficult than I thought, but definitely doable. I get a pinky break there, then it's doable. What we need to do is get a pinky break beneath the top part here. There's another card face up on top. Put our thumb over the corner. And just like we did in the coordinate change, exactly like we did in the cardiac change. In a sudden movement downwards, we're going to release our grip from the card and allow it to turn. Just like that. Now, if we wouldn't move our thumb, the court would just flip on the thumb because the thumb is the one that actually makes it flip. So what do we need to do is flip the cards and instantly remove our thumb at the same time. That's what will make the courts to flip and allow them to fall back down on the deck. This is something that you will have to just continuously do as you have to find the right sudden movement like this that you need to do in order to make the course change. After you go down, obviously, you should come back up to your initial position. You don't, you don't really want a very southern movement like that. Going down, you're dipping like half a meter. You want something small so that you can cover it with a snap of your fingers. This is a change that I loved performing on camera as when I covered the corroded instantly changes and there is no motion from my fingertips which doesn't feel like there's any sleight of hand itself. So if you can manage to do this, you will really have something that can look like video editing film. Now on, there we go. Bomb changed it. Remember guys, the thumb is the one that makes it spin. Once you make it spin, you have to let it go and move it towards the side. 58. 5.12 Shapeshifter by Mark DeSouza: Here is a move that I adore. It's called the shape-shifter. Honestly, I think he lives up to its name. You're basically just transforming that card in such a beautiful way. I lifted with many questions. And it's done in a sense something similar to the dock change. You are rotating the card in one motion instantly while you're doing this. But because it happens so fast, the human eye cannot actually follow its movements. And it looks like complete magic. I remember when I started doing this, I used to just perform it for myself as I feel it's got such a powerful aspect to it. That was way too many cards. We can change that one as well. Then change it over here. That's what you start doing once you know, a couple more changes and start putting them one next to each other. It looks like you're jamming. Let's use the ten of clubs, for example. You just need one card and the pink break underneath the next one so that you have two cards back to back. Now you're going to use your thumb on the inner left corner and your middle finger on the upper right corner to grip the court. Now if this card cannot completely and freely rotate because your hands are a bit smaller, move move it at the fingertips at the extremities. And if that doesn't work, I'm sorry, but you cannot execute the change. You really need the card to allow to flip completely. And that means for the finger naught to be contacted by the court. Now, when you're doing this, make sure that you make a gigantic see with your right hand. Notice how my my index finger is not on the code. It's lifted up. These two fingers form the biggest. See that it can be bigger than the Atlantic sea. From here we're going to grip the code using our ring finger and left thumb. Grip it from the other corners. And notice how I start bending it downwards. Now, I'm going to exaggerate it here. I was tweaks saturated. I flipped it 360. Notice what happens. They've been the card and then I let go from my thumb, trying to do it slowly here. I let go from my thumb and at the same time, I let go from my ring finger as well. If I just let go from my thumb, it flips that way. But if I would let go from my ring finger as well, it gives it enough momentum for the entire court to flip 180 and create this beautiful change. Were flicking it from here after we'd have pressure, flicking it from there. And then at the same time we're going to propel it by flicking it from here as well. Once you do both of those synchronized, which is the hardest part, you're gonna get this change now in the beginning, Let's see, with my other hand, I don't think I've done the shape-shifter with my left hand as often. There's clearly the thing that I found most difficult is synchronizing those two for short. But I can also feel that the courts are almost escaping the fingertips from my left hand. Really got to be holding there another powerful grip. Because if I hold too much of a powerful grip, then the court is not going to spin, but not too easy grip because then the cartilage is going to fly out. What I need to do, Let's get that code is find the right amount of pressure when I'm holding the currents to allow them to spin while also not completely dropping them on the floor. That is something that you'll need to do by continuously doing this color change on and on. But now that you have everything that you need in order to make the change work, you can use your skills in order to transform your dreams into reality. There. That was pretty bad. I mean, There we go. Then you're going to have I wanted to make a jog regarding the ten Read grid a reality, but I was pretty bad. The best. Hope you guys enjoyed the color change. 59. 6. Section VI: Controls: Welcome to this section where we're going to be learning controls. As a magician, you're gonna have to control costs through your desired positions. And the positions that you usually want those costs to be are either at the top or at the bottom. In this section, we're gonna be looking at a couple of controls that you're going to want to need in order to achieve some sleight of hand effects in the future. Take a deck of playing cards and let's master controls. 60. 6.1 The DL Control: The first control that we're going to learn is a control that you already know? Yes, exactly. Because it uses the double lift. We're just going to execute a double lift. Show the second card, take it, put it in the center, square root of N instantly the court has been controlled to the tap. From that point on, you can actually use the tilt as another control. And with just another double lift, you have control the car to the top. You can take it again. And the current is still untapped. That is called an effect and it's called the ambitious card effects. Though we're not going to be looking at that one right now, even though you already know that as well, what do you have to do is execute a double lift, a clean one, then for the current back and put it in the center. Now the way that you put it doesn't matter, but if you want to really sell, the court is over there. You can even turn the corner towards yourself and say queen of clubs, as if the queen would actually be there when you're turning the coordinate revealing that it's still on top. Another way that you can actually sell this and you need some preparation in order to do this, let me show you what's going on here. You will need to have the two queens, or a seven and an eight or something like that. And you turn the queen of clubs, you show it. You put a point in the center and then you turn it around to just flesh it just like that. And it will look as if the queen of clubs is over there, but in reality is the queen of spades. But I am covering the index. That's how this part is called the index with my index finger, funny. I just flashed the queen as if it's the king of clubs. And then I turn it and the queen of clubs is on top. You have the guys, the double. If controls are very deadly and powerful, move. If you master it, you can even make the spectator take the code in place it somewhere in the center himself or herself. And they will not take a look at the required because suspect that there's usually trust magicians. And I'll just show the car and the five-year-old place it somewhere in the center. They will place it. When you trust the speaker. There were the code, it really sells it, that you have actually given them their own card. 61. 6.2 Metro Control by Biz: This control is called the metro control. And it looks something like this. We're going to use the four of spades that we have over here and place it somewhere in the center of the deck. And just like that, the court is controlled towards the top. Let's do it again. We'd have a code selected, Let's say for example, the nine of hearts. And we leave that one in the center over here. The nine of hearts is controlled through the top. It does not use anything that we don't know already. We're going to cut the deck like this, holding it in below grip, and then show the queen of clubs. As we pull it back, we're gonna get a pinky break beneath it. Then we're going to come with a deck and just place it on top of the Queen. And using our thumb, we're just gonna pick up that card instantly. As we pick it up. We don't want to flash the fact that now there's a different card there. We're going to twist our wrist towards the right stern, our restores the right instantly. Turn our wrist in this way so that we flip the deck in front. So as we flip the day queue in front, we're going to use our thumb and pick the desktop. This is called the thump cut. Doesn't matter if you don't know how to do this. You have it over here and you can just put the deck like this and put it inside. Or you can just cut the deck in the middle. You have it over here. You showed the GI. 62. 6.3 Simplefied Control by Biz: Here is the simplified control coordinate spread out like this. We're showing the card to respect it. We bring it down. And then we're basically going to be switching it out as we place it in the other spread. Once more. We have it over here. We come down, we switch it off for different clients and then replace that code in the center while we control the car to the top. Now let's see what's actually happening here. We split the cards and make sure that we have a current over here that isn't really sitting like this, but it's separated from the rest. It's not stick stuck to something or very close to another car. It's separated from the rest of the current. We show the code. This one is over here, jogged towards the right. And then we're going to twist our risks on the inside and neck tie just a little bit. The deck as we pull the court, we don't want the spectator to see you that we're pulling this code on top of the deck. We're pulling the cart. And then because we've pulled the cord, these three fingers are now completely free to contact the face of the uttermost extreme towards the left card. That was so many words for this guide, the face of this card and pull it towards the right. When that happens, we are going to basically just inserted here. So it starts here we go and we just inserted somewhere. So let me show you. Go on the spread and we just inserted somewhere like that. And from here I close the spread and I do that thumb code that I usually do. You don't have to. If you have a current that is over here, you can just place it underneath the deck like that. And the court will look class anyway. We do the spread, make sure that accord is over there. We show the code to respect the third, let's say for clubs, we target, we don't pull it yet. We wait, wait, wait, wait, wait. We necktie the deck. This is basically what we blocked the spectators view of the court, pool it, contact that card, and then come back in a point where the spectator can see that their code is being put in the center. But we don't really want to hog over this chord. Now, what do we want to be like this all the time, but at the end, we really want them to see that their code is in the center. Then we put it inside totally to the current has been controlled to the top. That is the simplified control. 63. 6.4 The Spread Control: Here is a much easier control them, the simplified control. We're going to have a spectator touch a card. And let's see, for example, the touch, this one. We're just going to show them the court. And then we're gonna commonplace the code that is not their card in the center. We have somebody touch a chord. Let's see the touch this one. When they touched that one, we place our thumb on it. But at the same time, notice how these two codes are very close to each other. This is a very similar situation to when you're pushing in order to get a pinky break. Remember when we learned that top change state, I told you to push that code and then only pull the top one while leaving this one over there. You basically already know how to do this control. You're pushing, you're having those two cards, you're only pulling this one. But this time this is happening under the motion of a spread. So we'd have the codes here. We've contacted this card with the fingers from underneath. We're going to pull this one, the spectator selection, towards the left. As we separate the spread and bring this one up, we're showing to respect it. And then as we lower the course down, we tilt towards the left side in order to allow gravity for the current to fall. This is doing by basically opening our fingers and releasing from the thumb as well. And the code will just fall inside. Let's see, one more time. Speaker touches a chord. Let's see, detach this one. We separate it from the rest. I already have my thumb on it. I start going up towards the spectator and in one motion I pull that code and that one, it just stays over there. Spectator. It looks at it. Let it go inside. I've put it in, and then I lose it in that motion control. The court have guys this birth control. 64. 6.5 Bert Allerton Control : More simplified version of the spread control is when we dribble the court, split into cos out stop. We push this curve towards the right. And then as we come up with basically moving the other card from underneath, this is both alerts control. Basically have an over here. We're pushing the other one just a bit. And in the motion of coming up, we're pulling this chord back as we're extending our fingers with the other card, which we'd have contacted. And this is what creates this switch of cards. We have this one. We've already pushed him, contacted the face of this chord with our fingers over here. Notice. Then as we come up, we're pushing the court and pulling this one on top. And from there on, we just continue as usual, please. The current anti and that's it. C-star spectator. Stop here. We come up with show them the court. They look at a CT. We let it fall. We pushed the dark lord over here, hold it with our index, put this card on top and instantly have controlled if cord towards the top. 65. 6.6 The Double Undercut: Here's the easiest control that you will ever execute. Spectator calls out stuff they take look at their selection. In this case, the five clubs, little chorus fall on top. And then we're just going to even cut the deck a couple of more times in order to lose the current completely and control the card in those motions. Basically what happens here, Let's keep the card fee subsidy. You can see I dribbled the cards on top of their selection while keeping a pinky break at that point. From that point on, I transferred the break towards my right thumb, things that we've already learned. And then I cut half of that packet towards the top and then take the rest of the deck on top. Yes, I know that is exactly everything. And so many magicians use this. Yes, the coordinates in the center, we're just gonna leave it somewhere over there. And usually you just cut it back to the top. I guess you already know how to do this is just a matter of executing it. We have the jack forward there were driven on top. You don't even to dribble, you can just place the cards back on top while you're holding that pinky break transferred to the farm, cut half, you just cut it using your pinkie over here. Or you can just dribble, cut towards the top and then pick the rest and control the car could attack that is called the double undercut control. 66. 6.7 The Bluff Control: Here's a funny control that you don't think actually works until you try it out. There needs to be a sort of setting first. What I think you should do is force somebody court. You're cutting the deck in this fashion is very important. They've cut the deck in this fashion. Suspected that takes look at the record in this case is the ten of hearts. You forced it to them anyway by using the force that we learned before. So we put it there just like that. Then you're going to tell them the court you told by just picking out the information, I want you to think of red or black, whether black. You tell this pictorial gonna do it again. This time you have the same thing. You have them. See, stop this C-star anywhere, but this time you don't want them to think that you're forcing the code, you're going to go very slow so they can see stop at any point. So let's say this C-star, what you're gonna do is you're going to pretend to take cards. I mean, this is the syllabus control that you're probably going to be learning here, but it works. Now. You don't even have to take the full deck. This is a bluff control developed by then in the book. You can just take the top card like this, the dig look at their code. And then once you put this top card on top, you are going to do this motion that we learned in the earlier control, the Surely cut and make it look as if you had that fact that all along when you put it over here. This is called a bluff control. Basically, that's it guys. You're just going to get a briefing at the top cone. Somebody's gonna call out stop. You're gonna take the top card. They take a look at their code. We put it back on your brief hold and they acquired is now second from the top. And from there on you just blow their minds away. If you're very confident in your skills, you can just pretend to take a deck. They take look at their code and then just come back on top. You just slam your hand on top. Just like that. If you have anything to begin with and people will just be convinced, but the situation has to be right. It has to be something that goes faster. Do you think the current give it back and then we put it inside there and your hand has to be normal. That's why you said you got to build it up where you're already sitting like this with an actual packet, of course, in the beginning. And then when you repeat the feet, we just want current people will already assume that you have half the deck inside your hand. But that is the bluff control. 67. 6.8 The Injog Control: Here's something that is called the square of control. You'd have a card inserted in the deck. And notice how you can instantly just have access to it. We'll put it face up, put it in the deck just like this. And instantly we can just cut directly to the code itself this time I control it second from the bottom. See how, depending on how you insert it and how you pull on it this time, I think I almost completely lost it. You can control it to the top, bottom, or any other position. You do this by the way, they, you square it in the deck. Notice that is that this one is the next one. Notice that when I square it up, I move it towards the left. Then I square it so that I can have access to the current. Push it towards the left, and then I square it up, usually with my thumb in order to have access to the court room and then zoom. I see many people perform this very badly. They push it here and then there. It's obvious. Let me just tell you if you see anybody perform this move like this, it's obvious. I mean, The Spectator can understand what you're doing is just too nice to tell you. If you're doing that. It's supposed to look as if you're actually pushing it in the center. If you do it fast, this big data reconnect, actually comprehend what's going on. And that's different if you do it like that. But if you're doing it slow and it just looks like this, then perspective there will know what you're doing. Just let me tell you that. But at the beginning, do practice it slowly in order to understand what's going on. We didn't know it at one hand that as well. Of course. You are over here. You're pushing with your pinky ring finger, middle finger towards the left. Once you're over here, you can use your thumb to pull, to pull down and push down on the coin. Then push towards the right in order to square it up and have a card in jacked. This is basically what we were doing over here, which is the pinky. But this time we're gonna get the court in position for our Pinky's to reach n and latch onto those cards. Obviously from there, it's just a matter of fact of just cutting in order to control the code where we want. We have it over here, press stores the left, and then the thumb completes. We square up the deck. Notice that I go forward and then at the last moment I go in. It doesn't start instantly from this position because that is obvious for everybody. It goes forward and then at the last moment it goes in. Once you do that fast, you're going to make it. This one was a bit too fast elastic myself. Once you do that first, actually there is slow. Now for some reason, once you do that fast, you can actually make sure that it looks good from every angle in control it to any position that you wish. That guys is. The push control. The definitely has an official name. But usually it's just the inserting a card and jogging occurred. In jogging occurred probably it's called from the old manuals of magic. We're just inserting the code and then you're in jogging it either with two hands or with 1.5. Now you have a weapon they can use in a variety of ways, either for controlling or for making sure that you don't lose track of a certain card. Obviously, please don't perform it like that. Then from that position you can just take it or you can use it in preparation to pop the card out. Or there's a variety of things that you can use it from that position in jags are at the core of Code magic. Make sure that you master them. 68. 7. Section VII: Forces: Sometimes you would like to force a card on a spectator. Basically that means that you're gonna make them feel as if they had a completely free choice. When in reality you are basically giving them a car they wanted them to take. Now there are so many ways to force a card, but we're only going to be looking at two different ways in which we can force a card. As they are, just everything that you'll need in the beginning as you're starting out, honestly is just enough in order to have the person selected card that you want. And from there onto just create something completely amazing. 69. 7.1 The Dribble Force: We've already learned the riff or force where we'd have, let's see the ace of clubs somewhere in the center we keep a pinky break, speak with their staff and then we just cut where the break is, forcing the ace of clubs. There's another way that we can perform this, but inside of a dribble, basically we're going to have that pinky break and move the break TOR, right thumb and start performing a dribble. The Spectator to just call out stop. There. We'll say stop. The moment that they see stop. We're gonna release everything from above the break. Now how do you actually do this is a matter of extending your thumb. Notice how I'm just flexing my thumb inwards over here. And that is what actually causes the deck to fall because it follows extended completely, both of them would fall. But because there is a break here, I can just extend my thumb by flexing it inwards and the packet will fall instantly. And the rest is basically timing. It might sound difficult, but many spectators will see stop towards the middle of the deck. So you just say, Hey, can you please say stop? And it will just see stop there. Now I basically stopped the one card before. So what I can do is just squared this inner, show it to the spectator, obviously like this. If that doesn't convince you, try out a couple of times in an notice that once you tell the spectator, I'm gonna go through a course like this and I want you to just call up stop. Stop. And they will see stop. Right there. I will. I'm talking and explaining, but that's the point where you drop the entire packet. It's usually a two thing, a two-time thing. You say it and then one. And at today we'll say stop. Can you please just see stops somewhere? One and they stop, they will say stop, it just works like that. But I want us to learn this because if basically teaches our hands to release an entire packet first, you have to do it like this so you make sure that you can do it. And then start dribbling and release. And release. Then you can either force the code that is over here, show it to them, or the chord that is over here and show it to them. Or if you're into productions, you are the perfect spot for actually making a production happen. As you turn the deck and show that there's four aces or something that is up to your imagination and playfulness. This was the drivel force. 70. 7.2 The Dai Vernon Knife Force: This force that we're going to learn is called divergence for us. I mean, I call it divergence force. I actually have no idea how it's called. Let's say we want to force the seven of clubs were gonna give a quarter speculator and ask them to just inserted somewhere in the deck and they're going to insert it, let's say over here. And we're going to show them that they actually start exactly over the seven of clubs. How did we do that? We're using things that we've already learned, get accustomed to it. At the beginning, we've learned the building blocks of everything that we're going to learn now so that I can go through the explanation is much faster. We don't have to waste all this time. Basically, what we need to do is get a card towards the bottom stock. When I say bottom stack, I mean anything that is below half of the deck. Let's see, somewhere over there, the eight of diamonds. I always keep it face up. And we hold a pinky break at that position. We get a curve towards the spectral theory, doesn't matter what coordinate is. Let's say it's the Joker. And we're gonna start refilling our fingers and make sure that they insert the record anywhere above our selection. Obviously, we don't want them to put it over here because they will be pretty obvious what we were about to do. But we want them to place it somewhere near the middle. So when you see them com, if you want to go a bit faster, you can just make sure that it is above their selection. When we have it over here, we're gonna say jargon a bit and place our thumb on the cart. From here on, we'll just grab everything from above the break. As we learned in Biddle grip, everything from above the group and keep our thumb on this card as we remove the packet. Basically you see what's happening. I'm pulling this card from the position that it was placed, that at the position that I have a breakout. Marvelous, marvelous force. And it will fly by m, full antibody, seven of spades, right over there. We get a car expected or positive somewhere. Usually this was done with a nice it was used as a kitchen kitchen thing, the kitchen party. They will put the knife somewhere and you just pull down like that. And instantly it's at the seven of spades. Nothing that we haven't learned. It's a break. You grip at the break and you're basically just holding the court as you pull the deck towards the right and you have forced the court and the most marvelous in natural way possible. They avoid it. 71. 8. Section VIII: Peaks: In this section we're gonna be looking at peaks, basically beaks, or a method in which we are going to gather information regarding the deck. And more precisely, usually what card is either on the top or at the bottom of the depth. We have already learned a peak in the past and the previous section, the essentials of sleight of hand, the third around peak, where we basically learn the identity of a chord from the center of the deck. This section we're gonna be looking at how we can get that information from the top and the bottom of the deck. 72. 8.1 The Bubble Peak: Here is a way in which we can find out what the top card of the deck is. Just going to turn our risks and instantly know that is the ten of diamonds. Once again, let's see another card. We turn our risks and this one is the Joker. The way that we do this is by using something called the bubble peep. If I'm moving it in this hand so you can see what's happening. I'm basically pushing down on the top chord and buckling it up in order for us to be able to see the PIP on that side. Notice that if we buckle the card hard enough, we can instantly see the PIP over there was just a matter of turning our risk for a second. Noticing that the top chord is the nine of forex trader. Three fingers over here, we press on the coordinate towards the right buckling the cord. And we can instantly see that it's the eight of hearts. This way we can be talking about the spectator asking for something. They've looked at the top corner without them noticing, and then instantly force it. That is called the bubble peek. Obviously one of the easiest ways in which we can pick a record then we'd have discussed this is just refilling the end of the deck and noticing, noticing the top court in this case, the seven of hearts. We've got again six o'clock. There'll be the riffle peak. You've already known this, I've already taught you this, but it doesn't mean that you've probably remember that you can do it as such. I took the time now to mention it and show it to you guys once more. 73. 8.2 Gambler's Peak: The last big that we're going to learn is called the gambler's 50k. And it basically looks like this. As we're squaring the deck up, we're taking a peek at the bottom chord. In this case, the ten of hearts usually benthic quite a bit. So prepare for that. Basically just squaring the deck up like that and you're peeking at the bottom carbon, in this case the five of spades. We do this by grouping the deck in a bit of grip and then contacting the face of the card, the upper part of the chord with our index, applying pressure on it and then pulling that card. And as we do this, you will notice that because the court bands, we can instantly see the index and see that it's a file or hearts. Let's unbind the car it a bit and get a new one. We're over here in normal dealers position. Then we just place the index on the face over here. Basically this is what's happening. Placing over here and then buckling the car, get a new car. We're squaring up the deck. We're taking a look and then we can continue doing it as we know that the bottom chord is the two of spades. Try it out. I think you've already done it, then you kind of like it just makes sure that it's not obvious that you are doing something fishy. Just make sure that you're spending the courts search. Maybe you want to shuffle the deck and fill the spectator. Recorded this lost somewhere inside of the deck right? Now, what we're gonna do see I've taken a look at the bottom card is a jack of clubs. And I've done it in motivation of squaring of the cards. That is guys the gambler speed. 74. Congratulations!: That wasn't guys. I'm very happy that we have arrived at the end of this course from 0 to hero sleight of hand. And I'm really happy that you have stuck with me up until this point. If you have any questions, if you must have encountered something that you want to ask about, then that is why we have the classroom here on Skillshare where you can post your questions, where you can post videos. So just go there and ask. And it would be really great if you also film yourself. If it's something regarding a slave. Because then I can actually see with the deck in your hands and tell you pinpointed just what my advice would be for your situation. My name is base. This has been a complaint pleasure complex. This has been a complete pleasure. And I hope to see you around here on Skillshare. My other courses, I go in depth into other color changes and also car industry as well. So if you have not checked out any of my other courses, please feel free to check them out and let me know what you think about them. Have a great day.