Sleight of Hand Card Magic For Everyone

1. What We Will Learn: Hey, my name is Chris and I'm a sleight of hand expert, meaning I've been doing this for a very long time. If you have a deck of cards lying around, we'll learn some really cool things you can do with them like this discourse is for anybody that likes to do something with their hands while they're watching a movie, working or waiting for a friend. I'll show you some cool color changes, some really sweet vanishes, how to make cards fly off of the deck. And I think it's going to be a lot of fun. So what do you say, that's no, I. 2. What you will need: Skillshare Course, all you need is a deck of playing cards. I'm using some poker sized playing cards from bicycle. You can get this for $1 at $1 store, where you can just order them any sort of cards that you have around. They're going to be completely fine, believe me. A lot of them you can even do with a bridge sized deck or with a Canasta sized deck. I think they're bridges as well. You can use plastic cards, but I think it's going to be an impediment, honestly, because they're way too slippery. These are made out of paper, so they actually flow better in the hands and they don't slip away from the hands. Yeah, that's everything you need. Just this and your two hands and literally a surface on which you're going to be performing and practicing and that's about it. 3. Chapter 1: Color Changes: Color changes. Bom, bom, fascinated. Take two cards, put them back to back, hold them at the corners and shake. Voila. You are a magician, or maybe not, you still need a one. As long as you have one, you can always make magic happen, right? If you like cards, then learning some color changes will make your life more fun. I can just sit here and pool myself with this color change all day. According to this book from 18 85, color changes take precedence. Forbear face the daring of perhaps any other. Don't you just love how they used to talk back in the days bliss. Color changes consist in deliberately exchanging a card held in one hand for another, in the pack held in the other hand. And this in full view of the audience. Some changes are even more interesting when you see the secret behind them. You see, even though you know what's happening, it's still amazing how fast the cards switch. I scoured the Internet and checked out every Youtube tutorial on color changes from Alex Pandrea's weirdest color change to Daniel Roy's ten levels of slit of hand. Make sure that I would put together for you guys all new material. Grab your favorite deck and let's start learning. Welcome to the seven levels of color changes. Explain. Yes. 4. The Push Drop Change: It brings. The first change that we're going to learn from the seven levels of color changes is what I like to call the push drop change. And it looks like this. We're just going to take a card, we're going to push it above the king, and you're going to notice that it's going to change it into another card. We can do it again with the 912 and then as three, it's just going to change it into the king once more. It's basically just getting two cards as one, placing it on the lower side, gripping it with your thumb, index and middle finger going forward. Then whenever you want, you're just going to release both cards and using these two fingers to pull the card back. As long as you're going to keep hold of those two cards and come forward, you just have to move your thumb from over here and just use your index and middle finger to pull the top card back. That is it. That's basically it for the push drop change. If you're not very familiar with grabbing two cards as one, all you need to do is just get your thumb pull up on the top card and get another card from here. Magicians use a lot of techniques to get a pinky break beneath the second card. You can use your pinky from over here. You can use your thumb from over here. As long as you get those two cards as one, you move them over here, you drop them, you hold them here, You pull up a bit and you go one. And then at two, you're going to drop the card and pull back this one. Obviously, you don't want to make it that obvious, you don't want to bend it that much. Just bend a little bit so that when you do drop the card, it doesn't look as obvious that you dropped the two cards. That's it for the first color change of the series. 5. The Blink Change: The second color change from the seven levels of color changes is one that is very fond to me and it needs to be performed forward. I mean, to the person in front of you, maybe forward wasn't the best choice of words. It's so simple. This is what I love about it. It's just so simple. All you have to do is get two cards back to back, and then you're just going to reverse the card. But for the person in front of you, it looks like the card changes in an instant. So you flip a card face up. And in the motion of flipping a card face up, you're going to push two cards and get a pinky break beneath the second one. You turn this one card face up, and now you're going to have two cards back to back. You come with your right hand and you insert your middle and index fingers right over here, and then your thumb at the corner. And now you're just going to flick this card by turning your wrist towards yourself. And this way for the spectator, it will look as if the queen was taken sort of like this. In a way. You know, you're just taking it and moving it forward. But in reality, the card has changed. Nobody will notice that your fingers started there and then ended right here on the left side. So don't worry about that. All you need to do is just get that visual impact. You come from over here and you flick it forward. Just like that bow, just like that see with a turn of the wrist. That guy is called the blink change and it was, I humbly say, created by me. 6. Erdnase x Biz Change: I always check to see if the first two cards are contrasting, so that there's a nice change between the two of them. The fourth color change in the seven levels of color changes is a variation of mine on the ordinary change. Now the classic ordinary change looks like this. You're just, well, I don't have any sweat on my palm so it's a bit more difficult. It looks like this. You're just going to use your pinky. You kick forward that card and then it changes. I'm getting a little bit of sweat now, just like that. Start from here and the card is being contacted, instantly moved to the top. Instantly moved forward, and then you're going to have access to the bottom card. This is a change that you can learn in so many tutorials on Youtube. But the way that I do it is by moving the card instantly in this way, so that I don't actually have to do anything to the card, it always stays in the same position. This is based on a Juantamis move. Notice I'm just moving the card over here. I am covering it with my hand. And then I can have access to the card instantly. And I can just change the card just like that. What happens is I grip the card as a double, and then as I turn it, I'm going to use my thumb to kick back that card. Now the moment that I have that card kicked back, I'm going to move my hand over the eighth and expose it through my fingers, just like this. Once I have this, I'm going to get my pinky underneath the card and contact it with my nail. This is going to allow me to contact the card and slide it out because it's sliding on the smooth surface of the nail. Push that over there. And then I use the base of my thumb to contact the card and get it out from over there. Now if you're like me and you don't get a lot of sweat instantly, it's a bit dry in here in the room. Then either blow heat on it or what you can do if you're not in the situation where you can just blow on your palm is to move the card a little bit to the right so that you can use your pinky to contact this corner of the card and instantly palm it in classic palm. Then you can drop it on top and make the color change. This is a bit more of an advanced move, as you can notice because it involves doing all of this. But whenever I show it to a magician, it just adds a variation, another layer to the earning change that everybody knows. But this variation isn't something that you'll see a lot of magicians teach because they don't know about it. Now you guys know about it and you can practice it and learn it. Like I said, kick back nail underneath. Move the card. You can palm it and if you have sticky hands, you won't need to palm it. It will just slide out. And then once it's slid out, it still stays there. You can just come on top and drop it over there. And there you have it guys. That's it for this color change. 7. Wrist Turn Change: Sound Sound For this color change, you're going to perform under the disguise of checking your watch. You're going to twist your arm, you're going to look at the watch. And then the card changes together with a body body movement as you're showing this. And then you're turning your hand in order to check at the clock. Nobody is actually going to notice that what you're doing is this. Moving the card from the top to the bottom. Just like that. It's much easier if you have two cards turned face up, as they are actually bent the other way. I usually used to practice this with the cards face up, but because they're all in the same way, you might actually get two or three sometimes. Let me show you guys how it's actually done. You get a double lift on the top of the deck, and then I advise you to get a pinky break underneath the top card. You can do that by just picking up on the card and then riffling from the top as well, riffling from the bottom, and you get that nice pinky break underneath the top card. From this position, you're going to get used to doing this. You take your thumb and you apply pressure on the top card, and then you're going to move it towards the left. You keep going until you slide it underneath. And from this position you're going to relax the base of your thumb and start trying to flip the deck over. In that motion, you're going to be able to place the card underneath and then square it up. We have, here we go, we ease it over here, go with the thumb underneath the deck, and then we let it go. All of this happens as you turn the hand, you get your pinky break, you turn the hand. You wait a little bit, because you don't want the spectator to notice this. You come with your right hand, and by the time they're actually covering the card right over here, you can start pulling on the six and moving it there. And then you're going to look at your watch and the card has actually changed. We're over here. We get that pinky break. We start going with our right hand over the deck. Then I use my thumb to pull on the card, move it, look at the watch. The card has actually changed. If you don't have a watch, don't worry about it. You can just say, this is not your card. No, well, it usually does take a couple of seconds for the card to come here, there we go. The card has arrived. You can use an excuse like that where you're just checking the watch in a sense. As long as you get that flourish down, you can definitely cover it in a nice way with the body movement and with the finger movement, and you're going to have a really neat color change. 8. The Spread Change: The third color change in the seven levels of color changes is a color change that I learned from Kevin Hall, but I found out that it was actually created by Ed Marlowe. And it looks like this. You take a card and you're just going to flick it over here and the card instantly changes. It's a very beautiful color change, as you can see, very visually striking. And this is why I wanted to teach it to you guys because I didn't see a lot of places teaching it. And it's a move that should really be used by people. Notice that it's always the card on top that is being changed into. Because what happens in slow motion is our fingers from the right side are going to grip the card on top. And we're basically just going to use that to flip the entire packet face down. Let's go over it. We're going to spread the deck. Break it at a point over here. Let's get the queen. Instead, we're going to square this packet up. Then from underneath, we're going to use our middle ring finger. And I'm going to show you, without the spread, we're going to use our middle ring finger to go underneath the spread. We're going to have these cards over. So we imagine there are cards over here. And then we're basically just going to flick this packet over. The way that we do this is by letting go of the grip that we have with the thumb. This will allow the packet to start going down, but at the same time we're actually going to move our grip on the last card. This is something that happens naturally due to the fact that the card from underneath is actually being moved slightly to the right. As long as you position your thumb to the right side of the deck, it's going to grip that one card. All you need to get used to is to be able to flip this deck. Just do a couple of practices like this where you're just flipping the deck. Don't really need to think about if you're doing it correctly or not. Just get used to the idea of flipping the packet over. Then you're going to bring the packet with the spread and you're going to do the exact same motion. You grip and you go up. You grip and you go up Just like this. In order to make it a bit more clear that it was the that was being changed, you're going to move the packet forward, now you're going to insert your fingers underneath and then you're going to do the change this where you're going to be in great position to just have that card. That's it guys, for this color change. 9. The Table Spring Change: Good. Now the following color change might look like something that would be difficult to execute, but as long as you know how to do a spring, you're going to be able to execute this color change. Because everything that happens is just you move the card towards the left side and then you pick it up with your spring. So you have the card over here. This card is going to be moved to the left side because of the force from the spring. Then you're going to have all of these cards in your left hand and you're going to pick that card up inside of the spring. I'm going to try and do it a bit side jog, notice how the card moves, and then I can just pick it up with the cards. Now all of that will happen with the card being over here. And then you're going to be able to square up all of those cards. Obviously you're going to have a face up card in the deck, but if you're just performing for social media or just want to show an X idea to somebody, then it's going to be completely enough. The first prerequisite of this is being able to do thumb spring. I know, I know it's not something that everybody can do, but I wanted to include something in here that might challenge you to go with your slide a hand a step further. See you spring the cards onto the card that is going to move to the left. Well, when you're going to do it here is going to move in the spring and then you're going to pick it up. Let's do it at a better speed now or over here. Notice that when I spring the cards, I don't spring them from the right side because I don't want to cover the cards completely. What I want to do is to spring right over here on the left half of the card. I want the cards to just hit that left side. Move the card so I can instantly pick it up. I think I hit the camera right now, so that's why I stopped. This overhead tripod is really into my business right here. Just move it towards the left. This is something that will happen from now and then don't worry about it. Place it back down and do it again. Come over there and then you pick it up. So I'm going to do this a couple of times with you. This is one of those much more challenging color changes that from now and then I might forget as well, the things that can happen during it. The way that I make sure that I don't pick up both cards at the same time is I really give some time for the eight to move and then I pick it up. I don't instantly try to pick it up because then I might actually pick up both cards. Come over here, I give it a really nice spring and then I pick it up just like that. That is it guys, for the spring, color change, as part of the seven levels of color changes. 10. The Ego Change: This color change is actually a variation of the Cardini change. And the variation has been created by Daniel Garcia and not a lot of people are actually performing this variation and I feel like more and more people are forgetting the ego change. That's what I don't like. I think it might also be possibly due to the modified grip. But what I do like about this is that there is no second movement. I mean, when you're doing a Cardini, you make the card change and then you have to grip and you have to turn the deck around. Now if you're not doing it like that and you're doing it like this, there's just a lot of movement happening. But for the ego change, you turn the card, the card changes, and you're instantly done. It just feels so swift and nice. I wanted to include Daniel Garcia's change here so it doesn't disappear in the sands of time and more people start using it, and if you do already know it, then you start using it again. We're going to get two cards and we're going to move our index finger to the right side so that we clip the deck in this position in an exposed view. What you're doing is you're using the rest of your fingers to pull on the top card, drag it to the right. Extend with your thumb and index finger the packet to the left. Notice how I'm flexing my finger inwards. And I'm bending my thumb outwards so that the card can fall underneath the deck at full speed. It will look something like that. When you have your hand over neath, you're going to go and then it instantly goes underneath you're here, the card changes and you're done. Just like that. There's not much more to it than that. If you already know the Cardini change, then doing this will be much easier for you if you don't already know the Cardini change. And would like to learn that there's so many sources on Youtube or anywhere else on the Internet that you can pick up the color change. But I really wanted to show you the ego change by Daniel Garcia because it's just nice, It's so nice. And it will evolve your sleight of hand capabilities in a much more different way than the Cardini change. I'm not saying that one is better than the other, All I'm saying is that variety sometimes just makes life more plateful. There you go guys. That's the ego change. Make sure that you practice. You pull the card down. Sometimes if you pull it to the right, only to the right, it will clip onto your index finger, you pull the card down, you pull it to the right. This all happens in one motion. And then you're going to put it underneath room and then underneath. And just do this. Just practice this until you can do that. You will need to apply some pressure because you're really holding onto the deck. If you don't apply pressure with your fingers, then the cards are just going to move weirdly, just going to go like that. You really need to keep that deck firm and steady so that you can apply pressure with your fingers and pull that card towards the right side. This is a slide for strong men and strong women. You are strong as well. Do not underestimate what you can do. We have the four and boom it changes into the two. Just like that, the ego change by Daniel Garcia, That is going to be the last of the seven levels of color changes. Explain. 11. TIPS: How to practice: So now, day you're learning a couple of moves, you're probably thinking, how should you practice these? You could be sitting in front of a mirror, or you can just practice there with yourself. The first thing that I advise you is to film yourself right now. Just perform the move a couple of times, like two or three times in front of a camera and have it there. Then continue practicing and maybe like in a week, record yourself again and then compare the two videos just to have a sense of progression, which you wouldn't be able to have if you wouldn't have recorded yourself in the beginning. It's very, very helpful. Another thing that I like doing is just record myself to put myself on social media. And because I want to get it really, really nice, I'd just be sitting there performing it like a couple of times, like maybe 510 times. Then I look at the footage and I think I can do it better if I do this. I can do it better if I do that. And then I start correcting it and making it better because I have a witness, you know, the camera doesn't lie, you know, it will see everything if you're flashing or if you're doing something that looks awkward. So recording yourself is the best tool that we have right now to improve ourselves much better In the past, you know, you have the mirror, which is very nice, but it's not really a camera, you know, because you tend to blink when you're doing the secret move. And in your eyes it will look very nice, but it doesn't work like that. So the camera doesn't blink and the spectator might not blink, you know, because he wants to catch you. So the camera is the biggest, biggest heckler that any magician can have use a camera. And I think you guys are going to learn much, much faster. 12. Chapter 2: Palming: Top palm, bottom palm, back palm pence palm from a spread from a spring, from a fan, from a dribble. Palming is an essential tool. Palming is an essential tool for every card magician. And it's quite easy just take a card and place it in your hand like this, or like this, or like this, okay? Maybe not. Palming is usually done secretly in order to steal a card from the deck and produce it from somewhere else. Or you can use it for a color change or to put it back in the deck after the spectator has shuffled it. Palming can even be used on other objects, except playing cards, like credit cards. No palming should never be used outside of magic. Any act of prime will be punished by law in the magic circle. If you've always wanted to learn some poems, in this video, I'll go over seven poems, which you can learn in just a couple of minutes and then spend the rest of your time trying to master them. Only to discover an Asian kid with small hands is performing them better than you. Honestly, I've seen people with all sorts of hands successfully palming cards, so you shouldn't worry about the size of your hand. I scour the internet to see what other poems people have taught so I can teach you some new ideas which you've never seen before. So grab your favorite C of playing cards and let's get started. Welcome to the seven levels of Card Palm. 13. Modified Vernon Palm: The second palm in the seven levels of card palming is a rendition of a divernon palm. I actually Jack Tie showed me this. I think it was Glasgow at the Carl Fong convention and he was doing it and I told him that I actually do the same thing and I know it's divergence. And he said, no, actually it's not divergence because diver I think it was the index finger or he just separates the card And then by applying with pinky, you can instantly make the card go in your hand. But in this method, you're actually moving the card instantly in your palm. Your right hand doesn't do anything. Everything is being done by your left fingers. This makes this palm so fast in comparison to a classic palm that you might see anywhere else on the Internet, is because when you're doing a classic palm, you're doing this motion that is so giving, you're showing your spectator that you're literally taking something. Whereas in this position, the card is literally going in your palm. So you don't have to do any other motions. Let's see just what's happening right here in your left hand, you get a pinky break with your left fingers and then with your thumb and middle finger, you're going to grip the sides of the card. Now, I know for me it feels much very easy to do this motion because I perform cardtry and I've been doing this Pm for over eight years now. I might underestimate just how difficult this motion can be. Just try it out. I know your finger might treble. It might move like this. Let me try and do it with the other hand. Let's see if it's yes. It definitely is much more difficult. I can feel this. But try and grip that card because you're gripping the entire deck because of this pinky break that you have. Once you move your middle finger upwards like this, the only card that's going to go with the middle finger is the card that you have a break underneath, you go like this. Right now it's completely horizontal. What we need to do is move our middle finger downwards like that. Because of the deck that is underneath, the card is going to swivel upwards just like this. In this position, all we need to do is grab the deck in a bittle grip. This is called the Bittle grip, where your thumb is in the back and the rest of the fingers are in the front. You grab the deck and the card will go instantly into your palm. And these two motions need to be done at the same time. It will be something like, you're not doing it. No, no, no, no, no, no, no, no, no. Yes. At that point where your right hand is about to grip the deck, that's when you're doing it. And then you will have the card in your palm. There's not much more to it. You have to do it in steps. Get used to the pinky brake. Get used to doing this. Put it back. Get used to doing it just like that. You have it down, then come over here, keep it like that. And grip the deck. And get used to gripping the deck with the card. And once you have these three steps, start doing it slowly at the same time. Come here, you put it back, you grip, you go there. As you keep practicing, the speed will come, so don't brush it. And I guarantee you that you'll have it down. I don't know the expression. You'll have it down fast. That is it guys. That's the rendition of Divernan's classic poly. 14. The Pressure Palm: The next palm in the seven levels of card palming is something which I like to call the pressure palm because it happens while you're performing under pressure by Dan and Dave. Just like that, the card will be moved into your palm. If you don't know how to perform this, There are many tutorials up on Youtube. Just Google, Google. Youtube under pressure by Dan and Dave Buck and you're going to be able to learn this beautiful flourish like this. It happens from a pressure fan, which is something that you can pick up from Jeff Mcbride or I think there's many other tiers that are teaching this card fan. As you're doing this, you're just going to leave the cards as if springing them towards the left side. While you're doing this, you're actually going to use your left fingers to just angle jog one of these cards into your palm. And it's going to just sit there into your palm. Because you're moving it yourself. You are over here. I start applying pressure on the cards, but first I do a small fan and notice that this card is already separated from the rest. In a way this palm can actually be done with a normal fan as well. Now that I think about it, why did I never think about it? I've been performing this for 12 years now and I have actually never thought about doing it. Just I think because the fan is pretty ugly. That's why, I mean, in a sense, you could do it from a normal fan like that. But I feel the spectator is going to see, you know, when you're moving the card. Whereas, when you're doing it in the pressure fan, all of the eyes are on that flourish as you're moving the card. I start doing it. My fingers are on the card over here. I'm going to bend just a little bit, so you can see. Then I continue moving, just like that. The card is completely horizontal to the rest of the cards as I spring them and I can just palm this card. You are over here. Yeah. I start moving the card using my fingers, just like that in palm. And then I perform the rest of the flourish. Straighten, and the card is now in my left palm. From this position, you can just take the cards, place them out down on the deck, and you can produce this card from your pocket or from anywhere else. Obviously, your deck is in a perfect condition to do this beautiful spin on the deck because the cards are bent. This is a bonus tutorial I'll just put inside here. If you have any questions regarding this, because I feel this one might arise a couple of issues over here, then just feel free to drop a comment. I feel like maybe this angle might not have been the best for this, but at the same time, there's not a lot happening. You're just moving the card by using your fingers. One is going forward and one is going backwards. This is what kicks, this is what you spin the card and it goes into this position. And then you're performing the flourish on top. Just make sure that you know how to do this. Then you're going to do that as the florist is happening, Just like that. This is actually a card poem that I created after reading Dan and Dave's book. If an octopus could pull just a small trivia there. 15. The No Effort Palm: The next card poem in the seven levels of card palming is something which I like to call the no effort palm. It is a poem that I created back in 2013, I think. Or it was 14. Or you go like this, you just straightening all of the cards. And the card is being palmed in your right hand. It happens on the table. I wanted to include a poem that happens on the table because it's going to be the only one. And it's the one that I believe everyone should. That is why I'm teaching it to you guys. You are over here. You can grip it and it's completely natural. You're just reversing the cards and then you're palming the card. It can have certain motivations as if you're showing the spectator, that all of the cards have been shuffled and in this position, you've actually retained the cards, or you can just do it as you are reversing the deck. You come over here, you reverse the deck, you grip the card, you palm it, and then you're going to have it in your palm and you can produce it from somewhere else. So let's learn the no effort palm. You spread the cards on the table like this. And notice that I'm actually spreading the last card a little bit more than all the other ones. Because what I want is for that card to be available for my hand. And once it is over here and separated from the rest, I can actually just palm it from that position. Notice, right, So we go again, spread the cards. Get used to separating it a bit. Like don't go there a bit like this. Then I am moving the spread with my index finger and with my pinky finger, I'm going to contact the outer right corner of the card and pull the card towards me. And a waiting in this area is going to be the base of my right hand. And by pushing against it, I can just lift that card into the palm just like this, with the pinky in the base of the thumb. Complete it. My finger closes in so that the spectator doesn't see anything. And then I can come back like that, and the card is in the palm. It's a similar situation when you're just spreading. You go, go, go, and then you grip with your pinky over here, You're just pulling the card and then you continue spreading. As the card is retained in your right hand, notice that all of the parts until now, they have become more difficult, but they're very easy to understand how it functions. There's just a certain aspect to it that you have to get and then you can do it. It's not something very difficult, like when you're doing a backbone, for example. You know it is not mechanically difficult where you have to strengthen your muscles and you have to make sure that they can do certain motions. In this situation, it's literally just getting accustomed to your pinky finger pulling the card and then applying a bit of pressure on it as it contacts the base of your thumb, and that is it. The card is in your palm. All you need to do is just straighten all your fingers and you will have been performing the no effort palm by yours truly, right over here. If you have any questions regarding any of the palms up until now, feel free to drop a comment and I will reply to any questions that you have. Let's move on. 16. The Overhand Shuffle Palm: The third palm in the seven levels of card. Palming is one that happens while you're overhand shuffling the cards. I feel a palm being done while you're performing a shuffle like this is one that will fly by the spectator. Because it happens in something that is very familiar to them. An overhand shuffle, just like that. You come over here, you straighten all the cards and the card is in your palm instantly. Now, the way that you're going to do this is by having a card on the bottom, you retain that. As you shuffle the cards, your fingers going to push this card towards the right side. You're going to use your index and the base of your thumb. You're going to be using these two things all of the time, to apply pressure on the side over here. And then from underneath, you're going to let go of your fingers, and that's going to kick the card into your palm. You let go and the card is kicked into your palm. As you straighten the cards out, that would be a run through the entire thing. Let's go into it now. What happens when you're actually retaining this card? Is your left fingers are actually applying pressure on this card and your right fingers are just going to take all of the other cards. So just like in a normal overhand shuffle, where you take the entire deck, in this motion, you're keeping that card as you take the rest, so that card stays on the bottom. You shuffle these, try and do it a little bit messy. So you have a reason why you want to hit the cards at this point. It doesn't matter how messy these cards are, because all of these are going in the deck from underneath, you're going to kick this card just like that. You're literally just pushing your fingers like that. And once the card is over there and it's completely blocked by all the other ones, I'm actually going to come with my right hand and even push it even further so that I can contact it and grip it a little bit. Once it's gripped, I'm going to let go of my fingers. Flex my right hand and start hitting the cards just like that. You're going to palm a card in your right hand. And this actually happens when you want to give the deck to the spectator to shuffle as well. So you have the king, you're shuffling, you're extending. If you have another card going like that, just hit a little bit, then go underneath, take that card and you go like that. Let's go again. Over here, kick. I go underneath. I hit all the cards and I give it to the spectator. One advice that I can give you, Don't do this while looking at the playing cards. Do this while you are talking with the spectator, even the hitting motion, because the spectator isn't really thinking that you're doing anything because you're literally just shuffling the cards. You can be talking to the spectator. You can do a pause here and slowly kick the card there so you don't rush. And then you're going to grip it, hit all of those cards, give it to the spectator to shuffle. Make sure that they don't see this side, which is the side that most people are going to see. You do this by not really opening your hand, but by giving the deck like this, where your hand is completely closed, which is a normal way to give a deck. You're just giving it like that and they're not going to question it another time. They have the cards, you place them down and then you can come over here, or you can go over here like that, or you can just hold your hands here or you can let your hands fall by the side of your body there. You have it, guys. That is the overhand shuffle. Pull. 17. The Acrobatic Palm: The next poem that we're going to learn in the seven levels of card palming is a backbone. But we're not going to be learning the basic back palm, which you can learn anywhere on the internet. But I do advise you that you learned this back palm before you learn this one or not. It's completely up to you. What I like about this one is that it's acrobatic, that's why it's called the acrobatic palm. It happens as you are placing the cards in a flourishing way into your right hand. It's got plenty of cover, you can do it in front of the spectator. There's always been that little thing inside my head like, when are you going to actually back palm a card in front of the spectator? In a close up situation, very difficult. I mean, you could do it while they're not looking, but how could you do it in front of them? And that's how this palm came about, and we're going to learn it right now. You get a pinky break beneath the top card, and I'm going to show you what's actually happening. I'm going to shove my right pinky into this hole. And then my fingers are already curled over here because my pinky is already underneath the card. I can come with my index finger over here and already grip the card in backbone position. From this point, the card is already here. If I would just extend my fingers, it would go behind my palm. But because I can't just do this, because everybody would see what we would be doing. I come, I pull up a little bit, grip at the same time with my left hand. I'm going to take my left thumb, place it underneath the packet over here, and then watch this motion and then turn. Okay, push and turn. As my wrist is turning towards the right, push and turn, I'll wash together. It goes here and turn and left. My right hand is turning towards the right as well. Both of them are going in the same direction. Grip the card left thumb goes underneath. At this point in a way the deck is actually helping the card go behind my palm. The spectator can't see anything because in this position, the cards are still blocking the card that I am palming. But the card is already in palm position here, My left hand is going to turn completely so that it receives the deck. And the deck is turned and placed on the hand so that it hides any other signs that the card is over there. It can give the deck to the spectator to shuffle and they're going to be too focused on grabbing the deck. And then you can take your hand away and just produce the card from the ear or produce it from their ear, or you can just leave your hand fall down by your pants. But I don't really prefer that because you can just classic palm a card in the way that we learn. Or you can do it in overhand shuffle. So it doesn't really make sense to do this just to produce it from your pocket. But what it is nice about this is that your hands appear completely empty. You give the deck to the spectator. They grab it. If you want, you can come over here, you can just massage your hands. You can see it's really stressing to be a magician. Massage your fingers like this, the card into the other hand, but that's the transfer. We're going to learn the transfers in another video in the future video. So make sure you subscribe so you can learn more levels of slide of hand into the future, just like that. Then you can produce the card. The way that you produce the card is by contacting. Contacting this corner, pulling on it. And then you move your index finger from the way of the card and it's there. Once more. Pink finger, pink goes in, fingers go there. Already noticed that my left hand is turning at the same time. I'm going to move this card a little bit. If you can't pull the card, I mean, sometimes I don't even pull the card. I just move it so that I can contact this part over here with my pinky, with my index finger. I move the card towards the left. I grab it. The hand is already turning the deck. I turn all of the fingers and instantly the card is back ball. Make sure you practice this in front of a camera and in front of a mirror first, so that you make sure that you have all of the angles correctly before you perform it for somebody. It's a very nice flourish and it definitely evolves what you can do with a deck of playing cards. And my philosophy with these techniques has always been that if you master this one, it's going to make it much easier to practice and master other sleight of hand techniques that are much easier. 18. The One Handed Top Palm: The last palm that we're going to learn in the seven levels of car palming is the top palm, Which is a palm that everybody will use at one point in their career and at multiple points. Actually, the way that I learned this is by using it as a color change. First I had a card, I wave, the card has changed to the five, and then I would usually just drop the card back to change it. This was back like 13 years ago. Cut me some slack because I love this visual. But then the second one, I mean, it could look good if you do it well. But right now, I haven't practiced it in such a log. It looks so bad. This one still looks good. So we're going to be learning how to execute the top palm, and from my point of view, is the most difficult out of all of these. Even more difficult than the back palm, because I have tried teaching this to people and they have a difficulty pushing down with the pinky on the corner of the card and lifting the card into their palm. Because if you notice over here, my finger is really pressing down on the cards. And if I am not holding the deck, sorry about that. If I'm not holding the deck firmly with my right hand, then I can push the cards and nothing will happen. So I need to first hold the deck really firmly with my hand and then with the pinky, start applying pressure on the corner of the card. And once I have a little bit of pressure build up, you're going to start moving forward. And as you're moving forward, how I like to explain it is that you're gliding down with your pinky on this corner of the deck. So you're just moving your pinky down first. Just try and do it like this. You have your left hand hold the deck, and then with your pinky, apply pressure and go down on the card. Then use your entire hand to try and also palm it. So you lift it and you come here, you lift it and you come here then trying to apply the same thing as you are holding the deck. You have it over there, You're applying pressure, you're going down, and then the card is being lifted up. Now one thing that is going to happen is the card is going to be there most of the time in the beginning. Don't worry about it. The thing that you're actually doing is when the card is being lifted up. Let me try and fail on purpose. Yes. What is happening is when you're applying pressure, you continue going like this. Whereas instead of the pinky going forward, what you need to do is go forward and then go down over here. Notice that when I'm going forward like this, the card really angling badly. If I'm going just a little bit and then going down, the card is just lifting up, similar to when we were doing this one. You come over here, you apply pressure, you go down on the corner. I'm going to try and show you just a little bit here. You go down on the corner over here. Notice that my pinky finger is flexing down over here so that I can start going down instead of upwards. Over here we go, see until here, I'm still pushing from this position. I'm flexing the other way. Now I'm going down and that's when the card is going to lift in your palm. And just get used to doing that, I go do all of my fingers, not only my pinky are flexing. Now that I notice at the beginning, my pinky is pulling the card, that's why it's straight. And then my entire hand is flexing in the opposite way so that it can make space for the playing card mom. And then notice that I am exaggerating here, obviously, but now the card has space to bend and go after the shape of my hand. Boom, right over there. Practice doing that as you're placing the car down on the deck, down on the table. Or as you are throwing the deck into your other hand over there. And you'll be able to use the one handed top palm for so many situations. This is definitely a palm that is meant to be practiced a lot. That's why it's the last one is the most difficult, it requires the most muscle. This is one that definitely you need to have strength in your hand because you're going to need to be able to hold the deck firmly. As you keep doing it actually won't be, you don't need to do it, you know, but in the beginning, because that's what we do as human beings, we need to apply much more effort in the beginning so that our muscles remember the motions. That after a while, you can do it just with the minimum effort. Like right here, I was barely holding the deck, you know. So you're not always going to need to apply so much pressure, but you need to do it in the beginning so that you know exactly the mechanical motions that you have to do with your fingers. And that was it, guys. That was the last palm and the seven levels of card palming. 19. TIPS: Make practicing not boring: One thing that magicians do when they're practicing is they combine moves. So for example, you could be practicing a palm, and then from that palm you can be practicing a production. And from that production you can be practicing a vanish. And from that vanish another production. And then you can go from here you can do a color change. For example, if you put it on top of the deck, it goes from one end to the other. The more different types of slides that you learn, you can start combining them. It doesn't get reduntive. You're not going to be practicing the same thing on and on and on. Instead, you're going to be going through the sequence of moves. If you'll be talking with magicians, each one will have a different idle sequence of moves that he will be performing. For example, if you would be sitting in a bus, he would always maybe do a double lift and then the paint brush change. And then shape shifter, then maybe do a cut, like a false cut and then go into a bridge shuffle. And if you talk, well that was a bad one, a faro shuffle. So if you talk with anybody, each one will have a different sequence of moves that they're practicing idly. And you will notice that you, yourself, will have different sequence of moves that you practice. If you're just sitting somewhere and waiting for somebody or doing a movie, you might go through two or three moves. And the more that you learn, the more you'll change the moves that you're actually practicing. So that would be like an observation and a point to make to consciously choose a couple of moves to insert in your habit you know of practicing. And then just let your hands do the rest. 20. Chapter 3: Card Controls: What do this and this having common, except that they're all done with playing cards. Let's say the spectator chooses a card and you want to get it in your pocket or produce it from the card case or have it stick to the wall or penetrate the window. You get the idea as a magician, you first have to get the card in an appropriate position, the top box, in order to be able to do things with it right in time. Oh, hey man, what's up? Hey man. I got a nice thick for you, right? You got a package? Yes. Oh, I'm just kidding. Many Got a pack? You. Oh, double cut. You man. Can I have the package? You got some nice things for me. Thanks man, for this. I was just about filming right now. Yeah, I was just filming so I'm going to have to go look. You got a couple of decks you can give me. Have great dogs barking too. The pass, the use of the pass is to transfer a given card from one portion of the pack to another. In nine tricks out of ten, a card is chosen and replaced in the center of the pack, which is then shuffled. If this were in reality done without any previous interference on the performance part, he would be at sea as to the position of the chosen card and so rendered totally unable to find it when he wanted to do so. To avoid this contre, he by means of the pass, brings the card either to the top or the bottom of the pack and executes a shuffle, which, although it appears to mingle all the cards in reality leaves the chosen one in its original position. Knowing how to control a playing card is an essential tool for card magicians, and that's exactly what we're going to learn in this video. I've put together seven card controls which you can use in different scenarios like from a fan or a spread. Since you'll need to know different techniques for different situations, grab your favorite deck of playing cards and let's get started. Welcome to the seven levels of card controls, Explain. 21. The Peek Control: The first card control in the seven levels of card controls is the silliest, the simplest, and the most fooling for any magician out there. As soon as you learn this, test it out on anybody and they will never be able to figure it out. The first thing that you need to be able to do is this action of rifling the corner of the deck as you're holding the packet in this position. Notice how I'm doing it. I'm placing the cards in my hand. I'm placing the thumb on the bottom side. And then from this position, I am applying pressure, and I come with my right thumb at the corner. And then I can just riffle all of these cards. So somebody says, stop. It's the six of diamonds. And here's what happens as you come down with the hand to towards the Earth, the ground. You're going to riffle one single card just like this. And then you're going to put your pinky finger over here and your index finger from the right hand is going to grip this entire packet and separate it. Your left hand pinky grips that card and at the same time, your right fingers take this packet towards the right at full speed. It will look like you've just previously seen. You have a card, you come down, you're going to riffle down one. You instantly put your index finger in and you're separating the cards. At this point, use your thumb to just grab a packet from over here and then place the deck, all of the cards in. Since your right fingers are touching the bottom of this packet, you can move forward and just take the card that is supposedly theirs spread. Show that the card is in the center and you've successfully controlled it to the top. Now I know there's a couple of hiccups here that you might meet. For example, here when you're grabbing, you might not be able to thumb cut this right now. My advice for you is to lower the packet in the fingers. Notice that I'm lowering the packet as much as possible in the fingers and then it doesn't matter what kind of hand you have or how small it is, you can definitely thumb cut this packet, place it there, move forward that card. This gives a beautiful impression that their selection is in the center and you've control the card to the top. It doesn't matter if you can't do it from this position. I know not everybody has a big hand. But then you just need to lower this packet in the fingers. And I do this by bringing all my fingers here and then extending them. I bring them underneath and I extend them just like that so that I can cut the packet. There you go guys. That is the peak control, the most fooling card control for any magician and spectator out there. 22. The Messy Control: The second card control in the seven levels of card controls is one that pays homage to people such as Leonard Green and Marcobi where the magician appears to be very, very sloppy. But in reality, he's always in full control of what is happening in order to control a card while being so messy. Let's say for example, the five of clubs, which goes in the center. I'm going to keep it face up so you see it. We're going to have a pinky break above the card. And then we're going to do our sloppiest spread over here that we can. Then when we pick up the spread, we're going to do it by cutting it to the bottom. Now, you don't necessarily need to do this from the first go. You can go like that and pick up the card and say, I'm really sorry about this, really, I'm feeling a little bit nervous. Then as you go for the third one, you can just place it on top like that, play around with the messiness, and see in which way you would like it to go. And I'm sure you're going to have a lot of fun with this. Just a short example or advice on how you can make it messy. You go over here and with your thumb, you're basically going to push down on the bottom side. And this is going to kick out all of the cards if you want. You can even spread these cards and drop them on top of that packet and make it appear as if you're even shuffling even further. So sorry about that. See if you have a couple of cards face up in the center as well. That's even better. There you go, guys. That's the messy control. 23. The Judson Brown Control: This is a card control based on a bird alert move. That is actually based on a Judson Brown move called the one handed top change, which can be found in Jenny in August of 1937. The move looks like this from an exposed point of view, where you're going to try and mimic pushing the top card to the right and showing it to the spectator. When in reality what you're doing is you're pushing the top card and the second card, and then as you're coming upwards, you're pulling the top card to the left. The spectator is actually seeing the second card from the top. Then as you come back down, you're just going to let gravity pull that card down in position. You're going to push both cards from underneath your fingers, are actually retaining that second card as your thumb is pulling that top card towards the left. At the same time as you're doing that, your fingers from underneath are extending. Notice that the card is extending as well. The pinky and the index finger are placed on the top and bottom so that these cards are aligned and they don't show on either sides. So it just looks like you're showing the top card and then you come down, you leave it there, you place it in the middle, and you've controlled the card to the top. A very beautiful move that needs to be done in a swift action of just lifting up the packet and then you're dropping it down and you're placing it there. So I hope you guys have a lot of fun with this move. We can move on now because this was the next control in the seven levels of card control. 24. Another Card Control: This is a card control that I developed back in 2015 or 16, or 17. And I called it another control, so let's just call it another control. Basically, it's an implementation of two things. One, the spectator chooses a card, let's say the eight of diamonds, which is the first card from this spread. What we're going to do is we're going to come with our left hand, approach this card, but at the same time I'm going to push one single card from this packet. So as soon as I'm here, there's one card right there. And then using my fingers for my left hand to guide this card over here, I'm just going to place it somewhere in the spread. So this is the first thing. It's like a switch, but not really a switch is you're just placing a card over there like that. You can even come like this if you want. But now that you have an ex card over there, their selection is over here. What I do is I cull it underneath the spread and to the bottom of the deck over here. Now if you do not know what culling is, it's the action of using your right fingers to just take a look at this card, to pull a card underneath the spread, using your right fingers, and then keep spreading as you control that card to the bottom, just Google or Youtube. There are definitely tutorials for the call at CU LL, and I'm sure you guys are going to be able to learn that we even have a full DVD on the call as well, on Big Blind Media.com if you want. It's called the Call Father, and we got a great deal on it at this point, but continuing with the control, we have the spread over here. We get a pinky break right underneath this as the spectator is taking a look at their card. Then as we come down, we're going to come at the spread and move the card forward. Now we can do it like this if we want, and place it down and then cut this card towards the bottom, or let's say this is their card, the five diamonds. Or after we come over here, we come forward, we place it in the spread and we call the card to the bottom. It's completely up to you. This is a tool and you can definitely modify it as you wish. But there you go guys. That is another control, and I'm sure you guys are going to have a lot of fun performing this one. 25. The Bluff Pull: This next control in the seven levels of card controls is actually based on a switch. So let me show you the switch first. Let's say we have two random cards, like the three and the queen right over there. We just give them a wiggle and they transform into the two aces. And this is actually a switch from a gambling thing where everybody is supposed to pick up their cards and then you place the deck down and you switch them for the bottom cards. So that's what you're basically going to be doing. You're going to execute that switch. But as part of a control, I know I didn't explain the switch, but I'm going to explain what's happening right now. You get a pinky break above the bottom card with your pinky, and then you're going to riffle, you're going to show this card to the spectator. So let's say it's the ten of clubs. I'm going to keep it face up. Here's what I do. I either drop these cards down like this or I just place them down. Then I'm going to grip the entire packet except for the bottom card. I'm going to grip this packet and then my thumb is going to simulate taking this card, but in reality I'm just retaining that bottom card and moving forward with it. And when you're performing this with the cards face down like this, it's got such a nice convincing aspect to it, as long as you use your thumb to mimic this action where you're taking the card off the top of the deck. But in reality, you're just taking the bottom card. So you go like that, you drop it down, and then the card is still on top of the deck, because obviously you didn't take it. It's straightforward. It's simple. All you need to do is get a pinky break. At that point. You get a card like the queen of clubs. You go like that, you place it down, and there you go guys. That is the take control. 26. The Fan Touch Control: You see the third card control in the seven levels of card controls is one that happens in a fan. In order to be able to do this control, you need to be able to do a fan and close it with one hand. I'm sure you can find tutorials on Youtube for how to perform a fan and how to close it using one hand. You might be able to do this using two hands and closing it like this, but you'll understand why it's so much nicer. With one hand, we execute a fan and then we take our index finger, we just push on the fan and then pull towards ourself by you're separating all of those cards from the other ones. And by pulling, you are closing the fan and making sure that the spectator can see the card that they have selected, in this case the four of spades. Now here's what happens when I close the fan with one hand, I'll do it like this. And you can see that the four is now completely side jogged. And I can just place my pinky finger on it, get a pinky break at that point. And then cut the deck and have the card controlled in this position either to the bottom or I can control it to the top based on how I use my pinky finger. Once again, somewhere we can even ask the spectator, Put their finger on their card, they place their finger and then you can just say this one over here and then you separate them. You can necktie the packet a little bit. As you close the fan, notice that you instantly have this side jock of the entire packet. Then you place your pinky finger over there and you're just going to cut the packet. Don't do it immediately. Talk a little bit to the spectator pat, maybe you can spread the cards and say that their card is somewhere in the deck. Then as you're talking with them, you can even cut the deck and control the card in that process. There you go guys. That is the fan control. 27. The Blind Square Up: Date in date. In the next control is called the blind square. And it's a control that I developed back in 2014. And it's my go to card control for controlling a card to the bottom of the deck. Because it's nice, it goes fast, and it's very convincing. Now I've left this at the end because it is the most difficult. I'm going to show you what's actually happening over here. So I'm spreading and at the same time, I'm pushing all of the cards from underneath the spectators selection. Such a way that I can grip this with my thumb and index finger and pull it right here underneath the spread. As soon as the card is free of those cards, I am pushing it right there on the bottom. And then I'm closing the rest of the spread. All of these parts make this look very seamless, like that, as if you're just spreading and pushing the card in the center. Now the secret is that there is no stopping motion. I've taught this to people and they've shown me what they practiced. And they always stop and pull the packet from underneath. The secret is to do the spread. And at the same time, see I have already gripped the entire packet and pulled it back. It's one continuous motion of spreading, pushing and pulling at the same time. All of them happen 12 and then I continue spreading right over there. The spread doesn't stop at all. And then the card goes underneath the packet. Even the card going underneath the packet is an aspect that I've noticed people butcher. Because what they might be doing is they might be pushing the card like this. And notice just how horrible that looks when you're performing it that way. It needs to look as if that card is going straight into the deck. It can't be bent inwards like that in order to preserve the card in that position. What I do from this position, watch, I keep my thumb and middle finger on the left and right side from this position. I'm just going to push up with the packet and go a little bit inward so that I make sure that right now I can just push the card straight forward and it will go on the bottom at an angle. At that angle, I can just close the rest of the packet and it will go on the bottom. Notice I pull at this position, I'm just going to start pushing on the card and stick that packet in and then close all of those happen over here and then I go in just like that. This is definitely one of the most challenging and you have to break it into steps. Just make sure that you can do this fluidly and then make sure that you're holding the card completely still. Then you can create some space like this. Notice that I am just arching my hand a little bit. Just a little bit. If you notice that the card is tilting way too much, use your index finger to push on the back of the card over here, so that it still apparently stays completely still. Then we can push the card in what I like to do as a small thing at the end, instead of closing all of these cards here and risking the card to just flash for a second, what I do is I pull the card backwards, so I'm over here. I push it completely in, and then I grip it because it's already gripped with my thumb and middle finger, and I bring it back. I bring it back on the bottom of the deck. And now all of these cards can square up nicely because that card is hidden underneath the packet. If you have any questions regarding this particular control, definitely hit me up. Send me an e mail. There's an E mail in the description of this video, and I'm very happy to help with any questions that you have. There you go, guys. That is the blind square. 28. Chapter 4: Productions: Boom, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom. In this video, we're going to learn this, this, and many other techniques. Welcome guys to seven ways to produce a card out of thin air. Let's get started. And yes, I did get a haircut. 29. The Bebel Production: You want to learn how to produce a card out of thin air as if plucking it merely from the ether of the universe. Definitely not like that. Like this at the fingertips with no get ready. The Bebelle pop is the first one card production that I saw back in 2015 that looked completely magical in the hands of Bebele. It truly was something else. These two were definitely not my best tries. But when done right, there is no preparation. You're directly going into it. Let's do that again, just like that. Basically you have the card in palm, I apologize about that one. You have the card in palm and you have to catch it right at the fingertips as you're popping it. Now let's see how we can do this pop as well. Just place a card in your right hand in palm position. Then what you need to be able to do is just shoot this card out. Flexing your right thumb, just like that. You see I'm just flexing it and the card will move forward. Now, as soon as you do that, you're going to catch the card between your thumb and index finger, or your thumb and middle finger. Just like that. You can go forward as well. Obviously, trying not to give the card too much over pop because then you're going to miss it, just like I'm missing it over here. I definitely need more practice at getting this consistent. But it is a pop that makes you go, wow, from here to there, just like that book, practicing it a couple of times with you guys, you can get a hang with it and get comfortable with it. What's nice is that you really need no preparation. You just make it appear out of thin air. For other pops you will need some preparation, which is not a bad thing. But for this one, the Bebel Pop, how I like to call it, definitely does not add nave. I do not think that be bell created it, but maybe he did. What I do know is that he performs it a lot and he performs it very, very masterfully. So, there you go guys. That is the first method from the seven methods. 30. The Ta-Dah Production: You are definitely going to be laughing at this second way of producing a playing card. Because it's one that will definitely work for social media, just like that, it will require a couple of takes to get the angles. I can't even check to see how these look as you can see, even from the top view. Just like that, it can really look magical with a nice wave of the hands like that. If you start it like this and you go, the card will just appear out of thin air like that. Whenever you have a slide that is difficult to mask, already perform the cover before you actually need the cover. You see here I am creating a motion before I actually steal the card in that motion in order to produce it. It's a silly production, I know, but I like it. Just take the card and you place it on your leg. Over here, Here's what's happening. We have the card on the leg, and then I'm going to use my thumb to take that card from this position and just move it forward. If you're thinking that the card will be visible, it won't because this hand, the right hand, is actually blocking the camera view from seeing the card or seeing you take the card. The card is over there. We do the first wave like that and then on the second wave we already contact the card. We place the hand on the table and then we come from the top with the card, just like this. And then the card appears. Now if you don't want to experience what I just experienced there, you're going to place the mat as close as possible to the side of the table, just like this. So that when you drag it upwards, it instantly goes on the mat. As you can see, a very simple, yet quite beautiful card production where the card doesn't appear out of thin air, but you definitely materialize it on the mat, out of thin air. 31. The Classic Production: Here is the third method for producing a playing card at your fingertips and making it look as if you're just plucking it out of thin air. Similar to the Bbl pop. This one happens from a classic palm, but what's different here is that you will actually need to flex your fingers so that you can bend the card and place your thumb underneath the card, and then release it from the thumb in order to pop out just like this, which makes it a very nice visual. The difference between this and the bevel pop is that while over here you have no preparation. It just instantly happens as you pop the card. The difference is that in the bevel pop, you might shoot it out and you might not catch it. See a couple of times, I'm doing it over here on purpose. Whereas here you are most certainly sure that you're able to catch the card as it's at your fingertips. There is no moment where you're shooting it out. You're just grabbing it with your thumb and with your index and then the card comes out, put it in palm position over here. Then if you let it rest so you don't flex it, because usually you might be flexing the card in order to hide it in your palm. If you just relax your hand like this, you're going to see that the card is being caught in between the base of your thumb and your pinky finger. In this position, you can actually come over here with your thumb and bend the card, then you're going to grip it with your index finger. From that position, you're going to stick your thumb next to the index finger, gripping the corner of the card right over there. At this point, all you need to do is just release with thumb over here. And the way that the card is being released from there is by applying upward pressure with the thumb on the playing card, it is over here. And then you apply upward pressure here. By applying pressure with my thumb and extending it, the card will just release from there and you will have it at your fingertips. This really proves to be a very beautiful visual, especially when the spectator isn't prepared to see a card just pop out of nowhere. Now, many times what I've noticed is that after I palm a playing card from the top of the deck. And if you want to learn more about palming playing cards, there is a video that we've done in this series called the Seven Levels of Card Palms, which you can actually check out and learn. We learned the diver and the top palm over here, and then you compare that one together with this pop or with any other pops. What's nice about this card palm is that it happens instantly. We also learned the one handed palm, which you can use as well. What I wanted to say, and it led to this moment, is that many times when you palm a card, it's already flexed. You might be a little bit too tense in order to feel, in order to relax the card, enough so that you can place your fingers underneath. What do you do in those situations? Well, here's what's going to happen. You're going to flex your hand the other way while your fingers are holding onto the card. How I'm trading the grip to my middle and ring finger over here by flexing the fingers. And I flex my hand the other way around so that the card is flexed in the other position. So I can put my finger over here. Here is flex. And notice how I move my thumb on the outside so that by bending my hand, I can, I can make the card bend in the other direction, right over there. This is what I actually end up doing many times because of the card. I want to hide it very well in the hand. And I'm not doing this for social media, I'm doing it for somebody. I already prepare over here. My fingers, all three fingers on the card. And then I bend my hand the other way in order to produce the card out of thin air. Just like that. There you go, guys. That is the third way for producing a card out of thin air. 32. The Clip Palm Production: Let's say you like the pebble pop, and you would also like to make it look like this pop, the third pop that we've actually learned. How can you make those two into one single card production. And the way that you do it is by clipping the card just like this and then producing it. Notice how we are in a similar position, but this time we don't have to flex any of our fingers. And yeah, that's something that will happen from now and then is you can just palm the card and then you can produce it like that with no preparation, no flexing whatsoever. Whereas over here you have to flex your fingers, you might not want to have this, especially this one is a good camera card production because over here you have to clip Palm It, and a clip Palm isn't necessarily something that people use every day. And it's very hard to get into, I mean, classic Palm it and then you go into clip on. But the spectator might actually catch that moment where you go into clip on as such. If you want to use this for a performance, after you palm the card, you can get into the clip on as your hand is actually just resting by your body. Let's see how we can actually get into this palm. Go into a classic palm position, and then move the grip to these two fingers. And move your pinky and your index finger at the sides, just so you can actually grip those two parts. You grip them just by applying pressure from both sides. And then going back in position just like that, you will clip the playing card from this position. You're going to take your thumb and you're going to put it over here in the same position as we did with the previous pop. And apply pressure upwards in order to pop the card, just like that. If you've noticed, this is actually a very similar to position to where you get into after a classic palm like that. If you're demonstrating like classic palms to somebody and producing cards, you can vanish the card, you can switch it up, I apologize for that one. You can switch it up over here, and then from this position, you can actually go behind and produce the playing card. Why did I give you this very advanced moment for card palming? I don't know, but I just realized that this is a good idea. If you're in classic palming, you can just pop it out like that. In ignore, this is definitely what's just for a slat of hand monkeys over here, over there, two fingers, pop it. Stick your thumb, go forward, and that's it. There you go guys. And you have the fourth way to produce a playing card out of thin air. 33. The Finger Palm Production: Here is a simple way to produce a playing card out of a clip Palm. You can draw a playing card like that, and then you can prepare to take it and just make it appear out of thin air. What I like about this is that it doesn't come from a classic palm, it comes from a nice palm like this. Very similar to a ten K palm. You can actually go from a ten K palm into this clip palm over here. Or you could do this entire production from a ten K palm, if you wish. It's completely up to you. What I like about this is that your hands can actually sit pretty normal while you're doing it. And you can draw. And you can also hide the playing card. And then just make it appear out of thin air. Just like that. If you want you can give it a pop over there, or if not, you can just drop it over there and make it appear first, let's see how it can actually steal the playing card. You're going to push the card from the top of the deck to the right, and then you are going to clip it over here in between your pinky and your ring finger. Just there at the base of those two fingers. The card is going to go inside there and you're going to clip it there from this position. You're going to flex your fingers a little bit and you'll notice that your ring finger can just calmly rest on the outer left corner of the playing card in this position. Relax your fingers and hold them like that. And you will notice that from the front, it won't look like anything is going on. It will just look as if your fingers are sitting right there in their casual manner. You can draw a nice image over here and then produce the playing card. Once we're in this position, what I like to do is draw the playing card. I pretend to clip it, and then I come over here with the playing card. I release it and then I just straighten out a little bit the playing card so that the spectator can see the face while I've moved my hand in front of the playing card over there. And then just like that, making it look as if it comes out of air. Very simple, direct and beautiful. You can do it from any sort of palm position. So if you want, you can do it from a tank y position over there and just make it appear you can do it from a more advanced clip Palm position if you want. Depending if you want to do it in real life or on social media, it's completely up to you. But I hope you guys enjoy this version. I mean, this method for producing a playing card out of thin air. 34. Through The Hand Production: Not every card production that you do needs to be hyper visual. You can actually have something that is much more elegant or simple. Like this one, where you just wave your hand over the hand and a card is being produced. In the other hand, you have the card over here. You wave your hand over the left hand. Then as you're waving, you can produce the card from that hand. Just like that. I'm showing it to you guys from a couple of you from my point of view. And you can see just how nice and visuals it looks. As if there's no possible way that playing card can come from that position. So it's a nice way of applying the classic palm. And instead of making it pop like that, what you're going to do is you're going to drop the playing card in the palm over here. You're going to grab it and you're going to push it out of your hand as the hand is turning around. The reason why the spectator doesn't see this is because over here the card is palm and at the same time you're dropping the playing card and you're turning the hand. The spectator is only seeing the moment that the playing card is being produced over here. Now, I don't advise you to drop the playing card right here on the lower side of the palm, but rather drop the playing card in a position where your thumb can actually grip the card. Because from the point of view of the spectator, they won't be able to see anything because you had, your right hand is actually over the left hand. From their point of view, this is completely blocked. And then you turn around and you're going to rub the back of your hand and the playing card is produced. This is a card production that I learned from back in the days when L and L Publishing, we're doing VHS, VHS, VHS, magic releases, just like that, the card will be produced. This was done in the idea of you can roll up your sleeves and then say, notice my hand is completely empty, but if I rub really nice on the back, a playing card is produced just like that. If you have the deck, it doesn't work at all because you're just dumping the card on the deck. So do not try and attempt it with the deck. You just need your hands completely empty over here. You place it and the card is produced. A very beautiful and elegant card production, which once you see it, you're instantly going to be able to do it and perform it for everybody else. I hope you guys enjoy that. If you do, don't forget to drop a light. 35. Clean Through The Hand Production: Let's say that you like this production that we learned where it comes from a clip Palm because of its naturalness and easiness of being able to steal the playing card. Let's say you would like to do something similar as you are showing the hand and then producing the playing card. This is the last method for producing a card out of thin air. And it's actually my favorite because of just how natural it is. You have your hands empty. You can show the hands empty, and there's no motion. The card is clipped and completely straight from that position. I'm trying to go slow here. You're just rubbing on the back of your hand and the card is produced, which is a very nice visual. Whereas over here, you have to place your hands one on top of each other. It's still nice, but for a keen eye, there might be something there for them to see. Whereas in this position, you are showing clearly that the hand is empty. You're moving it to a clip position, you're stealing the card while this hand doesn't do anything. I think that's where the power relies in this one. Just like that. If you can get really ambitious with it, then you can actually try and produce multiple cards over there over here. Which I think is very plausible with this one as well, you're giving it in the practice, you go like that, that's one, and you go like that, and that's two, right? But this one is much more difficult to leave a card from this position as if you're springing them from the hand. Whereas over here you can just push with your thumb a little bit and the card will be able to be grabbed in the other hand. Just like that. But see, once you're doing multiple cards, you have to do something with the thumb. Steals away a little bit of the beauty of the slide over here. You steal the card from the top of the deck, as we learned, You place the cards down, you come over here, you show your left hand. And then if you feel as if the card isn't gripped very well, and if you leave it, it might drop, then do not leave the grip that you have with your ring finger. Instead, show it like this. Put the card in your hand. Literally, you can put the card in your hand and then turn the hand and start rubbing on it in order to produce the card. Notice that all of everything that I'm doing is just pushing this card. I mean, gripping it with all my fingers and then pushing it with my thumb. That's where this magical appearance comes from and that would be it guys. I mean, there's not a lot of much to it. I left this one at the end for everybody that's very, everybody that wants to learn more productions. And at the end, I believe should be left the best of the jam for everyone that is a nice student to put it that way. So you guys enjoy that one, the last prong, the last one from the methods of producing a playing card out of thin air. 36. Chapter 5: Vanishes: Look at this and at this, I mean, vanishes look truly, so magical sometimes you can't even believe your eyes. And that's exactly what we're going to be looking at in this video. Seven different ways in which you can vanish playing cards right at your fingertips instantly. Hey guys, my name is Baz and welcome to the Seven Ways how to vanish a playing card. They were going to be looking at seven different methods, how we this can be accomplished. I think you guys are going to take this. So take your favorite deck of playing cards and let's get it started. Welcome to the Seven Ways How to Banish a Playing Card. I said that title twice. I don't know why this is the new studio as you can see, and I'm very excited about it. So let's get it going. 37. The Pull Push Vanish: Here's the first method in the seven ways to vanish a playing card. This is something that I've actually covered as a color change in the seven levels of color changes. And it looks like this, The method is completely the same. But this time instead of actually making a color change, what we're going to do is we're going to take a card and we're going to make it vanish, just like that. This is actually a technique in sandwich tricks. For example, if you would have, let's say look the 27 just like this. And then you'd say the two sevens are off to find your playing card. You can see that one of them vanishes, then the last one. And usually here people either do a herman pass like that and then they reveal that they've actually found their selection or they make a cardini change. It's up to each one of them. If you've never seen this, then you're definitely learning. Now a vanish and a trick at the same time. The way that you do this is after you have a card face up, what you're going to do is you're going to push the top three cards, pull them back in that motion. You're going to have a pinky break beneath. You're going to grip all of those three cards. Pull back, just the top card. Place all of these down over here. And then you're going to push the double, because you have two playing cards here. You're going to push the double forward. And then using these two fingers, you're going to pull the top card back. Now your left fingers are actually holding very slightly on the sides of the deck. This makes it so that the card doesn't actually come back like this. It keeps it there and then you can pull this one back. You have yourself a vanish. Now if you want to use this inside of a trick, what you need to do is control the spectators card to the top of the deck and get a pinky break beneath it. Then you're going to place the two sevens or any other pair on top of the deck grip the triple pulled back the first seven. And now you're going to have their selection over here. You're going to execute the vanish. Then for the second card, what you can do is you can just cut it in the middle of the deck. If you want to be boring about it or I'm not saying that cutting the deck is boring. For me, it's boring. It's completely subjective. You can do a herman pass, you can learn a herman pass on big blind media or anywhere else. Or you can do a Cardini, but you're going to have this on the bottom and you're going to still have to do a nice cut afterwards, you can do a classic pass like this. It's up to each one of us somehow to make this one card vanish. I know we are actually in the seven ways to vanish a playing card, So what we could do is we can bottom palm the bottom card and make that one vanish as well. But then again, you haven't learned this one, because this one is actually later in the video, I know some of these explanations might get out of hand, but that's because I'm getting enthusiastic at the prospect of you guys playing around with this at this exact moment. This is called the push, pull vanish, and you can find it as a color change as well in the seven levels of color changes. Yeah, that was the intro guys, I hope you enjoyed that. I hope you're already practicing. Let's move on to the second method. 38. The Hover Vanish: A study shows that the card that the spectator thinks that is least named by anybody is actually the six heart, six club, six spades, so on. But in reality, statistics show that the card that is at named is actually the nine of spades. Nine. Actually, we're going to be using for this method to vanish a, playing the nine of spades. Now, as you've seen, this one is quite a funny one. You just wave your hand and the card vanishes like that. I actually like it for the fact that, besides the fact that it's silly, it actually looks very nice and you're in great position to actually show the hand and not see anything. At the same time, you can make it appear like that after you vanish it or you can make it pass through the hand. These are all productions that I've covered in the seven ways to produce a playing card out of thin air. And if you want to see that we actually published this one last week. As you can see, this one is very nice to vanish a playing card and to make a card appear. But I love it for vanishing a playing card. It's a great visual for social media and also for real life as well. Everything that you're doing is you're placing your pinky finger on your left hand, Tucktain like this with the nail touching the face of the playing card. Because the nail is smooth, you can glide this card on the nail. There's no friction between the nail and the face of the playing card. What's happening is I'm holding the card here, I'm placing the finger underneath the card. Then I'm hitting, as you can see, the card with the palm of my right hand. And at the same time I am gliding it on the nail, just like that from over here, you can see that the card has completely vanished. One thing that you have to take into consideration is how you vanish it. Don't vanish like this. And don't vanish it too much in the back, because people are going to be able to see it over there. If they're from the top down, if they're in front of you, that might actually be a much better take on it. Because sometimes I thought that people won't be able to see this because I can't see it from the top down. But from the front, they might actually have seen nothing. They were just trolling me. Most likely it's invisible. This vanish is completely invisible. What I do after vanishing it is I extend my finger over here for a split second so that the spectator can see my finger is still curled a little bit. Then I turn my hand, here's how I do it. I turn my hand always with the knuckles. I'm contacting with the knuckles, and I'm gliding it on the knuckles because the knuckles are very smooth and there's not going to be a lot of friction over here as well. I'm going on these four knuckles. I can show the back of the hand, I turn, I go on the nails. Everything that I do with the card is touching with the nails over here. If you want to show the right hand, you're going to place the card into a cop palm. This is how it's called a palm over here. And I'm going to turn my hand and show the spectator that there's nothing over here or the camera. When I come back, I place the hand back on top of the card. My pinky is going to go underneath so that I can glide again on the nail. From this position, you can come to the left, drop the card. The card will drop naturally because it's not on the nail anymore. And you can make the card appear or you can make it drop. And at the same time, turn your hand and push with your fingers. Like I said, this is something that you can see in the seven ways of producing a card from thin air. If you want more instructions, you can go there. But that was it guys. This was the second method in the seven ways of vanishing a playing card. Hope you guys are going to have fun with that. It works wonders on kids, because it really looks like it vanishes instantly, and then it appears. There you go guys, I hope you enjoy that, and let's move on. 39. The Classic Palm Vanish: If you like palming, then this one is definitely for you. I placed it, I named it as the bottom palm, vanish because we're going to look at palming a card from the bottom and then vanishing it over here. But in reality, it can be done from any palm. For example, if you want, you can have the card over here and take the card from underneath and do this and then vanish it. Or you can just have the card in Palm already. But what I do want to share with you, if you already know this vanish is a nice subtlety which I'm going to explain to you in a second. The first thing they're going to do is turn the card face up. You're going to grip the deck from underneath. Let's actually get some helping tools over here. Let me show you guys what's happening underneath. Imagine that these are the playing cards. I'm actually going to push this card using my index finger. Notice what's happening is the card is swinging towards the right. Because my index finger is pressing on this corner of the playing card. And my pinky finger being at the corner of the deck. That card is actually swinging with the help of my pinky and index from this position, since we're already almost in a full classic palm, my hand is going to come on top and it's going to flex so that I can steal that playing card. We're over here. I push to the left, the card is contacting my pinky and the palm over here. Then I'm going to close in my hand, and by closing in this corner of the card is actually touching the base of my thumb. From that position, I can actually flex my pinky finger so that I can retain that playing card in palm. From there I'm just going to come and place it on top of the deck and execute the vanish. These are some really nice Plexi glass that my brother printed. Shout out to my brother, thank you very much for printing these, so good for explaining things under the deck. We're in that position, we push the card, we steal it over here, then we prepare to take it, and then it just vanishes. Now here's the subtlety that I was talking about. There's a palm that I taught in the seven levels of card palming, which you can learn here on Big Blind Media's Youtube, which is from this position. It's actually a modified Vernon Palm. You lift the card like this. What's nice about this is if you have a card in Palm and you lift the card, can come from above. Drop this one and that one on top of the deck. And it will look as if you actually palm the card in that position. Because your hand is covering that face up card by covering it and having the card over there, it really looks like the card is in your palm when you reveal to respective. That's not, that's really nice. Vanish, especially for magicians as well. Hope you guys have fun with the palm vanish. This was the fourth method in the seven ways of palming. Seven ways of vanishing a playing card. Hope you enjoy that. Let's move on. 40. The Erdnase Vanish: Ah, the Arne vanish. One of the classics of card metal. The Arnes vanish. One of the classics of card magic that you'll see everybody after 2010 or 12 or 11 do. It's definitely one that is beautiful. You can move it over here and then you can go like that and then you can make it slowly vanish, just like this. I think it's got a beautiful aesthetic to it. I think it was Daniel Madison that first popularized this. Shut out to Daniel Madison OG legend, love everything that he's ever done and he's an amazing sleight of hand artist. Definitely check out his material. Now all you need to do is place one card in this position and then you're going to use your palm to drag this card from underneath, Move it over here. And then once you're over here, you're going to tilt your hand so that it covers the bottom part of the card. Then you're going to do absolutely nothing. You're going to keep going forward until you cover the front. Once you cover the front, you're going to come with your index and quickly push that thing in. You can even pause for a second there so that people can actually realize that the card is vanishing. And then push it in and keep going forward. Okay? Make sure that you don't put the card to too high so that you can't reach with your finger. In case you want to test if this is happening, always reach with your index, and then if the card is too high, push it a little bit inwards, just like this. And do not keep your finger over here because it's a tail. People are going to be able to tell that you're doing something. Or even better if you want to keep your finger there. You pull off this card, you go right over here, The finger is here. And then what you're going to do is you're going to push the card and come back in the same position. So that when you vanish the card, it actually looks that the card has vanished in that position. And from that point on, these are all tools that I'm showing you. But definitely, you're going to have to do something with that card from that position. You can place it in the middle, You can steal it and produce it. Like what I like to do over here, just like that. Or you can steal it and place it in the center. It's up to you, definitely have a lot of fun with the vanish if you've never seen it. Let's move on. This was the third method in the seven ways to vanish a playing card. 41. The Horizontal Vanish: Here is a vanish that you're going to really enjoy performing. We're going to take the playing card, you're going to place it in the palm, and you're going to make it look as if this is what you're doing. Then vanishing it. Notice that the position of the hands would be here. But I'm putting it here so you can see what's happening. I show the hand. I come over here. From this point, I'm actually going to reposition the card over here so that I can palm it in the palm of my hand. But the spectator thinks that the card is over there. Now I pretend to grab it over there, and then just make it vanish like that. Now you have to keep your hand as natural as possible, because what you want to do over there is then to make it appear. Because you're not going to want to just stay in that position. You might want to take something from the air and then make it appear like that. But the most important part is making people believe you can come here. I like to do it once and then I say, okay, actually we have to do it with the front that people already get the idea that you're placing it in palm. And then they are expecting this to happen. I turn the card, I place it in palm. I move the card inwards, just like this. I clip it over here from the point of view of the spectator. They're not going to be able to see the card because it's blocked by my entire hand over here. I hold here, then I come in the same position. Notice that both hands are in the same position. Because I want to mimic this exact point, this exact position of my right hand. Because I cannot extend my hand completely. In order to make this hand look natural, I'm going to make this left hand look exactly the same. I go like this. Then if you want, you can even try and put it back in the same way. But from my point of view, it doesn't really look the same way. It just looks like that. But you grab it, you go like that and you make it appear. And I think it's going to look amazing. This one is cut short. But I feel it definitely is much more angly and as much more difficult. But definitely, there's very few vanishes that happen right here in front of the spectators eyes. As such, I wanted to give you one, well that one completely went to the floor. I wanted to give you one that you can do right in front of them. You put it, there you go. Here you make it vanish, and then you grab it again and you make it appear. There you go guys. That's the last vanish from the seven ways to vanish. 42. The Marlo Vanish: The Marl vanish is actually one of my favorite ways to vanish a playing card. I've been doing it ever since I was I think 15 or 16. And it definitely is one that everybody should learn. The way that we do it is by using something like a method from the Kelly bottom placement. And you do this by holding the deck in bittle grip position. And then all three fingers that are on the top side of the deck are curling in, pulling the card towards the right side because this is the right side. Then the index finger, the pinky finger and ring finger are going on the side of the deck. And this is actually going to extend the card like this. Notice that I can pull the card on the side of the deck and that's what's extending it. You have to get used to doing that. Gripping index finger curled over here, I am applying pressure at the same time as I'm pulling on this. Because if I'm not applying pressure, then the deck is going to go in the palm and that's now what you want. You're keeping that over there, you're pulling the card. And then you're going to have this space over here where you can use, just to scoop up a playing card. Notice that I am bending this inwardly so that I can just scoop the card up like that. When you're doing it at speed, the card is actually going inside. Now, obviously, I'm not holding the card in this position, but I'm just showing you what's going to happen. Because the gap is actually this small. Just this small over here. I'm holding it and notice that I'm instantly taking the card in that position over here. I grip it. As soon as I know that I have gripped it, my hand is going to flex inwards so that I can actually trap the card in that position most of the time. When you're going to vanish, it vanish, you're going to want to put it flush with the whole deck. But sometimes you might actually get one of these where the card is actually side jogged to the right. It doesn't matter because your hand is going to cover all of that from underneath. You can come on the left hand and square all of that up and show that the card has vanished. The way that I practice this is by having a couple of cards, and then I will go over each one. Notice that I bend this one inwards. Take the card, I vanish the first one. I clip it in, I hold the card, I extend it, I take the second one. I reposition my thumb so that I can grab that one as well, and I take the last one as well. I come with my right hand and I'm going to square all of that up and show that all of the cards have actually vanished. And then I can just do a herman pass and show that they've all went in the center of the deck. Now if you're experienced light of hand artist, you can actually make the card go in the center of the deck by holding a break and having an jog somewhere in the center. By just scooping that card in that position, you can get the card instantly in the center of the deck without having to do a Herman pass. This is just an idea for those move monkeys out there watching this video and wanting to get a new idea. Yeah guys, there you go. That was the sixth method for how to vanish a plane card from the seven ways. How to vanish a playing card. Op guys, have fun with that credit tomorrow for creating such a bad *** move. Let's get going. 43. The Applause Vanish: Here is a vanish that I have created back in, I think it was 2014, the basis for it. Let me show you what happens from an exposed point of view. This is what you're actually doing as you're closing your hands. You're popping the card into your lap. Now this is definitely something that you can do in real life. If your hands are closer, like over here and then you come over there and you're popping the card in your lap. Or if you want to do it on video further away from the side of the table, which makes it more credible, then you're going to have to take a couple of shots before you actually do it. Now the way that you pop the card is by placing it in exactly classic palm and applying pressure with your pinky at some point due to too much pressure. That card is going to pop out just like that, see over here. And then I pop and the card pops out. Now I do notice that what I'm actually doing is instead of just pushing with my pinky inside and nothing happening, I'm actually applying pressure downwards like this. The pressure isn't necessarily going towards there, but actually going down as well. It's going down and at the same time going forward, it's not just closing in like this, but rather applying down from over here. And then at the same time going towards the thumb. The thumb is allowing the card to slip out by extending. This is much easier done when the hand is actually facing down because due to the gravity, the card is going to pop out much easier. Once you have this, you're going to have to time it so that when you're closing in, your palms over here, your hand is actually pointing towards your lap. And then you can actually palm the card in that direction. Notice that sometimes I might actually use both my fingers, because I want the pop to be much more powerful. Then I can close my hands, clap, and the card has vanished. This one is going to take a couple of minutes to get the hang of it, but once you realize how to pop that playing card like that using your fingers, then you're going to be able to time the perfect pop for the perfect shot. That was it, guys. The fifth method for how to vanish a playing card. How to vanish a playing card, boom. 44. Chapter 6: The Top Change: The cross cut force, the Arden exchange, the Herman pass, the lateral palm, and the Charlie Miller cascade control. All of these are classics of card magic like the kick flip in skateboarding, bunny hopping in BMX, or button smashing in street fighter. These moves are either very easy to pick up like the duck change over here. Very challenging to master, which makes every magician want to learn them at some point. We all know just how satisfying it is to suck at something and then get better and better at it as you keep on practicing. If you want to get good at practicing just about anything, here are two videos that you can watch on the subject. Where am I going to this? There is a moving card magic that everyone knows about, but very few people have mastered. This movie is called the Top Change. So let's watch together a magician that is considered to be one of the best performers of the top change alive right now. So here we go. Hold it very gently, right there, without looking. Which one is in your hand, Amanda? Without looking so so the black. Let's do that again because suit too fast. Have another drink that'll help. Okay, here we go. Ace of hearts as page. You're gonna get it this time. I know 'cause you see what's coming as hearts is in your hand. No doubt about it. I like how his body language makes you feel comfortable with any sort of movement that he does. Well, the 1% there it is, the ace of hearts. Without looking, tell me which one is gonna see. You're holding a heart. Don't tell me what's in your hand. I have to tell you something. He's open, red. So good as you can see, completely natural and invisible in the hands of David Williamson has off. I became obsessed with the top change last year and ended up reading every single book I could find on the subject. I wanted to know why was it that this slide survived for almost 150 years. I actually wrote a whole article on the subject, so if you want to read it, there's a link in the description. In this video, we're going to learn the top change, as well as seven other variations, some which I found along my way and others which I have created myself. Have your favorite deck of playing cards. And let's get started. Welcome to Seven Ways, How to do a Top Change Explain with this. 45. The First Method: The first method that we're going to be looking at is one. Published in 18 77, a book called Secrets of Conjuring and Magic by Professor Hoffman, which is actually a translation of Robert Hudan's re preste digit la Magie from 18 68. This is the method that I found which resembles the move that everybody is doing today. We're going to be holding the top card of the deck, right here, between our thumb and index finger. And we're going to push the top card of the deck to the right using our thumb. This is the motion. This one goes underneath, exactly in the grip of those two fingers, and the top card goes to the left. Notice that the right hand doesn't do anything. It stays completely stationary. And then we pull this one, just like that, and then pull if you want to get a better view of exactly what's happening. Let me show you. Imagine this is actually a playing card. We're going to push this one underneath. It goes exactly there. And then as we move, that one goes to the left, right here again goes underneath, and this one goes to the left. Try and get that down as best as possible. Before you try any other movements, don't try to conceal this, Just try to get this movement as smooth as possible. Because this is going to be the foundation of everything that we're going to learn from this point on. Notice that one thing that I am doing different over here is that I'm putting my middle finger in this position. This is actually just something that I do. It's not something that is being taught with this method. The method explains that you're holding the car between your thumb and index finger, just like that. The way that you cover this, as you've seen in the performance by David Williamson is at the way that you talk a lot of the books in the early stages of magic, we're talking about these big hand swings while you're talking. But it was Professor Hoffman and Fsinser that actually talked about having a very closed stance on the move. Because from this position you could very quickly switch the cards as you're talking. Notice that when David Williamson is performing, he takes the card and then he's talking with the spectator in that a very close motion. He switches the two cards, just like that. More than 100 years later in issue number 27 of the trap door in 1989, Harry Levine talks about how you can perform the classic top change, but instead of pushing the card to the right, just like this, like we've just learned, you will have a pinky break underneath the top card. Now what this facilitates is that instead of pushing the card with the pinky right over here, which is great because one of the things that you might notice when you're pushing one card to the right, is that, I'm not saying all of the time, but sometimes you might push more than one single playing card when you have a pinky break underneath the top card, only push one single card from this position. One thing that you can do is instead of having the card being pushed to the right and pulled, what you can do is make these two meet a line because your fingers can actually go underneath inside of that break, and then the thumb can just retain that card. Let me show you using the block over here. So I have a pinky break underneath the block. Actually, the other way around, these two are going to meet. The thumb is actually sitting across the deck. This one goes underneath my fingers go underneath inside of that break, but this happens completely naturally. Notice that none of the hands do anything, they just come together. In this position, I just slightly apply a little bit of pressure with my left thumb and this will retain the card that I was holding. And instead, this hand will take the card from underneath. While they're doing it fast, it will look like this. There's no pushing from the left thumb whatsoever. It just happens naturally as the two collide over here, goes underneath, and then you pull back. This is one of the things that Mr. Levine has actually pointed out, which I think is amazing, and I believe it is an improvement on the top change. But at the same time, I have noticed that sometimes while I am performing this, my index finger might hit the side of the playing card. Something that didn't happen before when I was doing the classic top change. It is something to play around with and see which one of the two versions is actually the one that you want to use. Before we head into newer variations of the classic top change, I would like to just make a small note over here and Professor Hoffman, which said in 18 76 in his modern magic book, that none of the covers either from the left or from the right prevail over the other. When doing the top change, it doesn't matter if you're holding the card in your right hand and you're meeting with the cards and then moving to the left or on your left side, then you're coming towards the right and then you're going to your right side. You should master both covers because depending on the situation that you are in, you're going to have to use one cover or the other. You can always just position yourself perfectly so that you can do it towards the right, towards the right side. Or position yourself so that you can do it towards the left side. When performing in front of the mirror, make sure that you're always practicing both covers. Try to get it from the left side turning towards the right and from the right towards the left. Either go from the top when you're getting a card from over here and you're talking, I mean, there's nothing you can do from the bottom over here, it doesn't make sense, like look how awkward this is. Definitely from the left, front and right side. Practice this so that you can handle the slide in any situation. 46. The Second Method: Here is Judson Brown's one handed top change, which can be found in the August issue of Jenny from 1937. And this is a move that honestly I have always loved. It can be used as a control, it can be used as a change. It's completely up to you. The way that you do this is by pushing the card to the right. And at the same time as you're pushing one card, you're going to be pushing the next card as well. Let's get this over here so you can see what's happening. I'm pushing one card and then using this side of my thumb, I'm pushing the next card as well. If this is not something that you can do, you always notice that you're spreading cards. Instead of just pushing two cards, What's happening is my fingers on this side of the deck are blocking all of the cards. But this is superseded by the fact that my thumb is pushing the top card. The rest of the cards are being blocked by my finger. What happens over here is I am pushing one card. But notice how I'm bending my thumb. After I'm pushing one single card, I am applying pressure with the rest of my thumb on the next card, while the fingers from underneath are actually blocking the rest of the deck. Let's see how that looks like. From underneath, I'm pushing the top card. And then notice that my finger is flexing and pushing the next one as well. Once you're in this position, your thumb is in perfect position to pull this card towards the left side, while your fingers from underneath. Let me show you what's happening here. I'm pulling the top card towards the left, while the fingers from underneath are actually holding this card in place. It happens completely natural by the fact that these fingers have sweat on them and it sticks to the card. We're pushing two cards. The fingers from underneath are holding that card. While the thumb is moving the card toward the left. From this position, all I have to do is lift my hand so the spectator can see this card. Then I'm just going to allow this card go back in as I square it up with my fingers. All of this motion happens as I am pushing one card over here. Then as I'm lifting the hand up, I'm pushing the next card as well, and I'm pulling the top card towards the left side. Sometimes what I have noticed is that in this motion, I'm over here. And then as I'm going up, the card will be sticking out very little. Not a lot of people are comfortable looking at just a small in this. What I'm doing is I'm going to be using my fingers to square up the deck over here. This, most of the times is going to allow the card to be sticking out much more. You are over here, I come out and then using my fingers, see I'm just going to pull the deck inside. And this card is going to stick out much more to the audience. Then from this position, I'm going to necktie my wrist, lift my thumb. This usually makes the card go in as you come down and use my fingers to square the card. You've now successfully showed the spectator the second card. So you can do whatever you want with the top card of the deck. You can go in an ambitious card routine, or you can do anything else that you wish. There you go guys. I love this version and I hope you guys are going to learn it because it's so useful. 47. The Third Method: Here is an absolutely gorgeous variation by Alex Elmslee from 1965. This builds upon what we've just previously learned, where you're pushing the card and you're pulling it over here. But instead of doing this with one single hand, you're going to be doing it with two hands. Here's what's happening. I am pushing this card towards the right, and at the same time I'm sticking this right there flush with the deck as you saw in the performance. If you do this as the hands come up, it will look as if you place this card just right of the deck for a small little touch on this. What you can do is after you've placed the card inside, you can grip this card using your fingers to make it look even more plausible that you just place the card over there. But what I found to be a little bit awkward is that if you're holding the card as you're here, it doesn't make sense for you to be placing the card on the deck and still be holding it with both hands. If you are pulling it there, if you are pushing it there and then you're lifting for me, it's much more natural to be holding it with the right hand. The spectator will believe that the card is sitting right there on top of the deck, to the side, and you're holding it with one hand. These two actions at the same time push and then this one just slides underneath the thumb. It should happen without the thumb having to lift up, just the card slides underneath and you're lifting the hand. A beautiful, beautiful variation by Alex Elmslee. 48. The Fourth Method: Here is another variation of the top change that builds on Judson Brown's one handed top change. It's actually from 1982, the complete works of Derek Dingle by Derek Dingle. Now what he does is he takes one single playing card. He places it on the side of the deck. He talks or gestures, and then instead of placing the top card in his hand as he moves towards the right, he's going to execute the move and place the second card in his hand. He places it over here. You're going to do the Judson Brown move and you're going to take the other one. You have a very nice visual image of the card being there. Just one single card. As you're headed towards the right hand, you're going to pull the top card after obviously you've pushed the second card and pretend as if you're taking the card from the top of the deck. Just like that. Practice doing this. And then you can do it in a faster motion. Place the card over here. You have to six spade, we talk. Then as I'm taking the card and maybe placing it down over there, I switched it for the following card. A very nice variation on the classic top change, which gives you much more mobility and visibility from this position. I think Dey Dingle really brought something very beautiful over here. Hope you guys enjoy it. I'll do it one more time. It gets so addictive to do after a while. Obviously, you shouldn't probably do it so open over here like this because people are going to be able to see it. But definitely cover it as you are talking with somebody. And maybe a little bit of a necktie, but not too much. Or you can just do this after you're talking with somebody. You can place the card down. They're seeing this, you lift your eyes, you're talking to the spectator, and you're saying, can you please put your hand on this card for them? They see this, and then they see you do that. There was no change happening inside of their memory. 49. The Fifth Method: Here is Hoffsenser, Stop Change, as explained in 1980 by Larry Jennings in the General Card, which is actually an effect, published in Apocalypse, volume 15, page 350. I know that's a lot of crediting information, but I feel it's so essential as we are sharing this information with everybody. The way that Hofsenser thought about the change is, instead of hiding it. What if you just do it in plain sight? What if you could do this change in such a way that you can just brush the card? I was rushing it here. You can just brush the card and at the same time you're switching the cards. You might have seen me already perform this a couple of times here on the channel because I'm completely in love with this way of performing the top changes. When you are performing it with the backs of the cards, it's completely invisible. Now I'm going to teach you Hofsenser change first and then I'm going to show you just a small variation on it, the way that I perform it. When you're doing fins change, you're just going to be doing this version where you're pushing the card and you're pulling it. But it's going to happen as you're putting these two cards together. You're going to strike down the top card, instead of pulling it towards the left side, you're going to unite these two and then go down. It's going to look as if you're just brushing the card, you're uniting and then you're pulling this one down. Then you can give it a couple more flicks, just like that. You go here and there. The only variation that, the only modification that I brought to this version is that I have a pinky break underneath just like Mr. Levine was talking about. And instead of pushing the card, I unite these two. And then from this position, I'm just going to pull this card down. If you do this one fast's not even invisible. I think it's a next level above invisible, if I should put it that way. Definitely, if you're not hurrying like that, you're over here. What I like to do with my ring finger is just level the card even higher so that I make sure I don't hit the side of the card as I'm coming down. I have the bad habit of performing this, as you can see, much faster than I can actually take the card. I lift the card up using my ring finger so that I have more space there. Even if you would like to do the hop sensors change from over here or you would like to do this one where you unite the playing cards. I think this version is a beautiful version to execute, especially if you necktie the deck a little bit and you're over here with one card. And then you can just do the change like that if you want. You can go repeatedly just like that and make a change happen in a very beautiful fashion. Something that is very beautiful for social media. Even another variation on this one, what you can do is have a card face up. This is for the move monkey Completely ignore me if it's not something that you will ever perform. But for those of you that would like to challenge themselves, get a pinky break beneath the top two cards. What you're going to do is you're going to unite all of these three playing cards. This one has to be faced up. You're going to unite all of these three cards. Your thumb is going to push the top two cards and your thumb is going to take them. What's happening is you can actually, with one single playing card, you can perform a change. Obviously you're going to have that card on top of a deck, but you can place this one on top so you can hide it. I think this one is a great change to perform for magicians because you have one single card here. There's no card over here. And still, when you unite them like this, you instantly get a card appear over here. Which is such a beautiful moment for any card magician out there. From this point, you're just going to do a double turnover. There you go guys. That was a lot of variations on the hoffsenser top change, but that's because I love doing it like this. I hope you guys enjoy it as well. 50. The Sixth Method: Here is a version of the classic top change which you might have seen people around perform. This one actually has so many names. I found it as the Letom switch, which is actually the original name of the switch. I found it as the Talazac switch, I don't think I'm pronouncing that right. And the John switch, this switch over here actually has three names. John Bhmon actually gives credit to Tach, apparently the creator of this move, who happened to publish this before. This was published in the Expert Card Technique in 1940 by Hugert and Bra, which is the switch that we're going to be learning right now. This version of the top change happens in a bit of grip. You're gripping the card inside of this position with your thumb and the middle finger. What you're going to do is you're going to push the card from the left side to the right, and you're going to place this card underneath. And you're going to grab this card using your ring finger. As the hand moves away, those two come together in your switching fingers. In that position, you're allowing the card to be switched in honestly a much more invisible way than for the top change. You don't need to do a lot of finger movement over here, but you're, you're grabbing this card just like in the classic change. And then your ring finger is in perfect position to grab the other card. Because if you've noticed, when these two cards come together, this one usually slides to the right. In that position is our ring finger to just grab it. What you can also do is have these two cards come together. You can have them inside of this nice thumb brake over here. And then your thumb just pulls that one towards the left. You have a pinky brake underneath the top card. You're grabbing both of those just like this with a thumb break. Your left thumb is just going to retain that card as it moves. In this version, you don't need to do anything with your ring finger, you're just uniting. And then your left thumb pulls the card towards the right, uniting. Left card pulls the card towards the left. And this is all possible because you have the pinky break underneath the top card about that. If I would have to choose between one of these versions, it would definitely be this one, as there is very little motion happening from any of the two hands. Just like I said in the previous classic top change version, you really do have to make sure that you are covering both from the right and from the left. Don't get stuck in just performing it from one direction. Make sure that you can do it by swinging your body in any direction if you want. You can even try and practice with your left hand doing all of the movement and your right hand staying completely stationary. Or your right hand moving and then your left hand moving, or your left hand moving, or only your right hand moving like this. It will depend on the situation and on the motivation that you have, but make sure that you can master all of those. It might seem like a lot, but with this version, honestly it's not because all of this happens completely instantaneous. There are you guys, the letumb switch, a beautiful version of the classic top change, which can be done with more than one single playing card. It can be done with as many playing cards as you want. 51. The Seventh Method: We're going to end this top change essay video with a variation of mine. I have been trying to think, how can I actually change the card in my right hand while I have a card face up on top of the deck. This is something that card monkeys will appreciate, because why would you need this? You can just turn this card face down. But at the same time, like you've seen in the performance, I feel it just adds another layer when you're performing to people because you couldn't have switched this card for another because there was a card face up over here. You don't actually switch up the card. What you do is you're going to perform the Judson Brown move over here. And at the same time you're going to get that playing card underneath this one. But instead of using this grip, which is the classic grip of the top change, we're going to be using a bittle grip right over here. Just like we've learned previously in the Leto change from this position. It's much easier for us to have a card over there grab it. If we don't grab it completely flush with the card, we can use our ring finger to push this card and align it with the other one. Similarly, if the card is too much towards the right instead of the left, we can use our ring finger to just push the card so we can align it with this card. What we can do is we are showing the tool and then we're going to push this one, pull it, grab that card, and then square it over here. As we are gesturing during our talk, in that motion, we can make it look as if the card in our hand was switched for another in the deck, when in reality we just added another playing card on top of it, which is a great slide to use. If you're doing change like I just did in the video, just use this king and the next king as well. We're going to have the king over here face down. We have another king here. We have the two. What I'd like to do is get a pinky Brad beneath that second card, so I can just push it and pull this one much faster, similarly to the classic top change with the addition from Mr. Levine. We have the card over here, I'm pushing, I am talking, I'm aligning over here and then I can just wave it and transform it into a king. I hope you guys enjoy this version where it allows you to actually have a card face up on top of the deck. I think there is much more to it than just switching it like this and doing a small change, but I will leave it with you guys to explore further using this method. 52. Chapter 7: Pop Outs: Card here, and press, boom, Put your thumb here and push, pinch, pull, slap, flick or lift. Making cards fly out of the deck is really awesome. And it's much easier than you think if you like visual magic. But don't have a budget for special props. Color changes, vanishes, productions, and pop outs are what you're looking for. Are you tired of performing the bile trick again? Do a pop out instead. Today we will learn seven different methods to make cards fly out of the deck, Which you can use to make people go, wow. So grab your top hat and let's get it started. Welcome to seven different ways to make playing cards fly out of the deck. 53. The Marlo Pop: The first method from the seven ways to make cards fly out of the deck is one by the legendary Ed Marlow. And it looks like you've just seen. You're basically going to place the deck down and one card is going to pop from the deck. And that is, well, the spectator selection most slightly the cards from the bottom of the deck. I am actually very surprised, whenever I find a visual effect from somebody like 100 years ago, I always make the correlation with visual magic with the present days. So I was very happy when I found this in one of Marlowe's books, and it's quite easy to execute. You're just going to get a ring finger break on the card from above, right over here. So this is done by getting a pinky break first with your left pinky, then you grab the entire deck. But you're holding onto this card with your left hand and you're just going to separate it and place your ring finger on the outer right corner. Once your finger is over there, you see that you can actually press against the card and nothing will happen because the thumb is over here. What you're going to do is you move your thumb so that when you grip the deck, there's barely any part of the thumb blocking the card. Once this has happened, what you can do when you're placing the deck down, you're going to be dropping the deck. And at the same time you're going to apply pressure with your ring finger so that the card shoots out instantly. Now if you don't want to go through that entire pinky brake moving over here, you can just pull the card using your ring finger over here, just like this. You place middle finger from the left hand, pulls the card, ring finger from over here, grips that card. I moved the camera for a bit, I apologize for that. Notice even if I don't drop the deck, I can push the card and because not a lot of the thumb is holding that card back, then the card is going to just shoot out. Make sure that you have your thumb placed in the right position because if it's too deep, you just can't do it. Now, the other thing that I'm doing is when in the first position, I'm holding the thumb straight, then I'm beveling the deck. I'm moving the thumb like this so that it can actually allow the playing card to shoot out. Almost allowing all of the cards to fall down as well. From this position, I'm slightly flexing the thumb, relaxing it in the other direction so that I can actually shoot the card out. The shooting happens by, just like I said, applying pressure with your finger in the other direction, and the card is supposed to shoot out at that point. Boom. Just like that. And there you go, Gas. That is the first bottom pop that we learn. You can, you can do it in an effect by just placing the card down and going, oh, that was weird. Is that your card? Or you can say that we're going to make the card pop from the deck and then you can catch it in the other hand, but play around with it and see how you can make the best. 54. The Flick Pop: The third way to make a playing card fly out of the deck is one that is simple but painful. Like a lot of things in life, we're going to place this card in, joked right about here. And you're going to have it, let's say about 1 centimeter, half an inch out. You're going to take your mill finger and just flick the card and it will instantly. If you're a card magician, then you know you can get in that position by pulling the card out with your pinky from this position, you can just the deck, if you do it too little because you're afraid to hurt your nail, this is what's going to happen, then you really got to hit that and you're going to get the card out. It was a double pop. That's why there see you can get the card out. It hurts. It really does hurt, but it's really beautiful and I think you guys can start performing it and start playing around with the different positions. You can put the card in. I think you're going to have a lot of fun. I use it. I do this when I talk about how things in the past, if they were broken, you could fix them by hitting them like you hit the TV. I pretend like the card isn't coming out. So if I just like hit it a couple of times, then it fixes, I fix the deck and the card comes out. But I think you guys can find other presentations for this besides this one, but I really like it. 55. The Lennart Pop: Here is a pop that happens while you're placing the card down on the deck. While you're placing the card down on the table, just like this, so you're making it look as if the car doesn't want to sit down and is returning back to the deck. You know you're placing it down and it comes back just like that. This is a move created by Leonard Green. And there's a very beautiful video with Noel Heath performing this one. I really thought the new generation of magicians should know it as well, or if not people that I have forgotten about it to start using it again. It happens by applying pressure with the corner. You see I'm applying pressure over here. And then by pressing down on the card, it will come back. My index finger sits on the outer right corner. And then I'm going to start bending the card so that it creates some sort of tension over here. Then by coming down with my index finger. Because if I go down, it bends it like this. But if I go at an angle, at one point that tension will be released and the card will shoot out back to the deck. It will get a little bit of getting used to the direction in which the card comes, but basically it will always come in the direction of the corner because you are shooting it from the corner. There we go, notice I am bending and then I am coming over here. If I just move towards the left, towards the right, the card will come just like that. Get used to how the card behaves. See like there's not a lot of attention. I'm just pressing down and then I'm moving forward and low and down at the same time. And this will make the card pop and then you're going to start doing that much faster. It's kind of like an anti pop. You know you're trying to place the card down, but the card comes back to the deck. Beautiful move By Leonard Green. Shout out to the legend, and I hope you guys enjoy that and have fun with it. 56. The Slap Pop: The fourth method to pop a card out of the deck looks like this. I mean, you just saw a performance. So I'm just going to go through it from an exposed point of view. You've got to get a thumb break beneath the bottom card. And while you're holding the deck in bittle grip from this position you're going to swing, cut half of the deck. And from over here you're going to come up with the deck, drop the card, and at the same time come down and this is going to pop the card out at an angle. Sometimes you will pop the card out completely if you're not careful or if you hit too hard. But it's supposed to look like this. If you want, you can do it on the table like that. If you want, you can even have the spectator call out stop. So you get a pinky break and then you move it to the thumb break. You say just say stop anywhere. They say stop here and then right there. One single card just flies out of the deck. Just from a thumb break. Isn't that amazing? Just from a thumb break, you go like that. The pop happens by releasing the card, you're just releasing it. At the same time as releasing it. I'm going to go up and down in a quick motion. Then this is what actually makes the card fly out high from the duck. You know, it's quick, it's fast. You know, sometimes you feel like you need a very long explanation for ideas in order for an idea to be good. But I believe the simple ideas, you know, that you can instantly pick up and start performing them. I think those are quite the most beautiful. So I hope you guys start having fun with this one right now and yeah, make good use of it. 57. The Bottom Benzias Pop: The second method to make a card fly out of the deck is based on the Benzias pop out. It's this pop out where you make a card pop from the top of the deck. It's called the Benzias pop out. Now, I like this, I perform it, I use it. I think every magician should learn it. It's based on a slip cut. If you know how to do a slip cut, you're basically getting the card and you're using your fingers to shoot that card. Don't worry about it. I actually have a much easier one. And I can say a much more stealth you want to do is from the bottom of the deck, you get a thumb break above the bottom card, you're going to cut half of the deck. You're going to move the cards like this, as if you're performing some karate move. Then from the bottom of the deck, you're going to shoot that card out. Just like that. In that motion, the card has been popped out of the deck. You can do it while you're cutting the deck, and then you're shooting the card out like this. Or you can do it by cutting the deck and then making the card pop out over here. Or from this position got over here go you throw it out. Or you can combine it with the benzos to pop out. You pop it once over here, you pop the other one over there. And you can have two aces. It's a very simple one to do. Very simple to start performing it. And then it's just up to you to see how you're going to use it in your tricks thumb break. Then you're just going to throw that card by releasing from the thumb. You're going to flex your thumb the other way, and this is going to drop the card. And at the same time you're going to do this motion by dropping the card and doing that, the card is going to spin out. There you go guys a new way, a fun way to make a card shoot out of the. 58. The Manual Pop: This next method for making a playing card fly out of the deck is kind of a silly one. The card doesn't completely fly out of the deck. Like you've noticed. There are some where the card stays over there. But though you could make this one fly out by, you know, lifting the deck up. Not like this actually. But I have noticed that if you lift the deck exactly at that position, it will make the card fly out. Maybe here's an idea about a previous idea hidden in this idea. In this version, you're actually, I mean, in this pop out, you're making a playing card appear in the spread. Just like that. I like to use this by making the spectator imagine that they're holding their playing card and throwing it at me. And then when they throw it, I pretend to catch it over here in the spread and materialize the playing card. The method is super silly, very straightforward. Exactly like I like it. Something that you can instantly just start doing. Yes, that's exactly all I'm doing. I'm just moving the card up with my thumb. But it's very important how I'm doing it. Because notice that this entire block of cards is completely blocked in between my pinky and index finger, and this spread is held by my right hand. This allows me to take one playing card from the right spread and then just move it forward. If I cover this up by doing this or by pretending like I'm catching it, the spectator is unable, the human eye is unable to follow the motion of my thumb. You can make a cart trick out of this by just having a pinky break beneath their selection, the four of spades. You spread the deck. You take in the right hand, all of these cards. You spread these ones with your left hand. You instantly block them over here. And then your thumb can go on top of the four of spades. Move it in position, and then reveal the car train. I mean, reveal the train. Reveal the selection. Yeah, it's super silly. I think you guys are going to enjoy it because it is super silly. But it's very visual and beautiful if you cover it nicely. Yeah. Have fun with that. 59. The Latch Pop: The last method to make a card fly out of the deck is one that is slightly more difficult. It starts from a side jog from over here, and then it goes into an angle jog so that your fingers can actually have a grip over this top side of the card. Then as you're throwing the deck down on the table or in your hand, you are bring this card forward with your fingers. And this happens in a way due to gravity, but at the same time, also because you have a grip over it. I am applying pressure on the card so that when I come forward, this card actually latches onto my fingers slightly. If I were to stop, you see it's still on my fingers. So if I just extend my hand, the card is going to be popped out. Let's get these nice and nifty glasses over here. We're going to cut the deck. At one point, we're going to get the card. The card is going to contact our left fingers and we're going to move it towards the left side. From this position, our pinky finger is going to angle the card over here, just by moving it slightly towards the right side. And then if we move our hand just a little bit, we can actually move this card forward. By moving the card forward and out of the deck slightly, our fingers can actually latch onto this playing card on the top side. Then if I hold it in one hand, notice that my index finger is on this side outside of the playing card, and the rest of the fingers are on the playing card over here. When I drop the rest of the cards, this card is actually still onto my fingers. And by extending my hand due to the sweat of my fingers, that card is going to sit on my hand and pop out. See I move the card over there and then I just bring it out. Sometimes you're going to get a nice, nice pop. Sometimes you're going to get a pop that is coming out of the deck, and you've got to find a nice balance. This is an idea that I've played around with and I like it. I think it's got a lot of potential and this is why I'm teaching it to you guys. As you can see, I have not completely mastered it as I didn't hit it per 100% of the times. But there's a police car just coming over here, but as you can see, it's got a very nice pop to it. You know, it's as if the car just appears out of nowhere, which for the spectator, that's exactly what they should be feeling. So notice how the card is from in this position. And with my two fingers, I am contacting over there. And then if I just drop the cards and I extend my fingers, the card is going to pop out of the deck. Or it's going to stay there in this nice position. And there you go, guys. That is the last method to make a card fly out of the deck. 60. Final Words: Why I love Playing Cards: I honestly love playing cards so much. They've been with me through so many years and they've been there for me through so many times. Meaning in the beginning when I said in the trailer that you can use playing cards while you work. You know, while you're watching a movie or while you're waiting for a friend. For me, the most beneficial thing, it has to be waiting for people, you know, like where I'm waiting somewhere for something or for someone or just waiting. Instead of taking out my phone and scrolling, I just take out a deck of cards and play with it. And honestly, I think it's done my health, my mental health so well to not be in the screen so much. And it's just so therapeutic to sit with cards and you spread them, and you fund them. You know, you're just playing around, you're doing some color changes if you want to learn some carditry. I have some courses on carditry here on skill share. If you want to learn other stuff, you know, you can learn from me or you can learn from another teacher, whoever you find you make a connection with. I think that's the best thing, you know, I just want to thank you for being with me up until this point and for watching this course. It truly is an honor. I tip my hat to you for staying with me up until this point. And I hope you had a lot of fun learning from me and learning these slides that we've been through, and I hope you'll have a lot of fun with a deck of playing cards and you just carry it around with you. So whenever you think, hey, what should I do for like 10 minutes until my Uber comes, or 5 minutes until, you know I'm stuck in an elevator. Somebody has to save me. Just take a deck of cards and just spread. And it's so interesting, some people call it thinking with your hands. It's when you stop thinking completely, you enter in this sort of Zen mode and you're just moving things with your fingers. You're not thinking, I'm not thinking anything when I'm doing this. I'm just looking at whatever is happening in front of me. So I hope you guys get up to that point if you want, if you wish. And I hope to the cards will be there for you in tougher times or idle times of complete boredom. My name is Bizz, my name is Chris. Some people call me Eli and I'm here on skill share. Hit me up. If you have any questions you can contact me. In the description, there's an e mail and you can hit me up over there. I hope you have an amazing time and I hope you have a lot of fun with playing cards.