The Art of Palming: Learn Sleight of Hand Card Magic | Elisav Bizau | Skillshare

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The Art of Palming: Learn Sleight of Hand Card Magic

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

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      1. Introduction


    • 2.

      2. What is Palming?


    • 3.

      3. The Classic Palm


    • 4.

      4. The One Handed Palm


    • 5.

      5. The Bottom Palm


    • 6.

      6. The Pocket Palm


    • 7.

      7 The Keyword Theory


    • 8.

      8. The Back Palm


    • 9.

      9. The Overhand Shuffle Palm


    • 10.

      9. The Middle Palm


    • 11.

      10. The Acrobatic Palm


    • 12.

      11. The Wave Palm


    • 13.

      12. Final Words


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About This Class

Palms are fun! They allow you to secretly remove a card from a deck of cards without the spectator knowing so. With a card in your palm you can achieve a great number of other sleight of hand techniques, such as: color changes, vanishes, productions and even teleportation!

In this course we're going to look at 8 different and unique palming techniques, from beginner level to more advanced, that will allow you to secretly remove a card from the Top, Middle and Bottom of the deck, either in your left or right hand.

Everything is explained in such a way that if you've never palmed a card before or done any sleight of hand, you'll be able to pick up a deck of cards and follow step by step. I make sure to talk about hand positioning, grip, pressure, strength used in each finger as well as more advanced concepts such as angles, speed or naturalness.

We will also be going over what you can do after you've learned these techniques and I will also pass unto you my "Keyword Theory" which I have been using to develop all of these sleights and many others.

Enrol now and let me know what you think. I can’t wait to see your projects!

- - - - - - - - - - Helpful Links - - - - - - - - -

Mechanics Grip:

The Swing Cut:

History of Close up Magic:

- - - - - - - - - - Credits - - - - - - - - -

The Classic Palm Variation by Dai Vernon

The Bottom Palm created in collaboration with Jan Logemann

One Handed Pop used in Acrobatic Palm by Dan and Dave

Credit to S.W.Erdnase for inspiring The Overhand Shuffle Palm

The Middle, Pocket, Wave, Backpalm and Overhand Shuffle created by Biz (myself).

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Meet Your Teacher

Teacher Profile Image

Elisav Bizau

Close Up Magician, Cardist, Creator


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

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

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

Level: All Levels

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1. 1. Introduction: Hi guys, My name is based and welcome to the Art of Pawnee. And this course we're going to be looking at eight different ways in which we can secretly still a card from the deck. We're going to be still encouraged from the top, from the bottom and from the middle the deck in our rights or an hour left hand. Now, I don't want you to be intimidated in any way. I'm going to be explaining each one of these palms and step-by-step manner. I'm going to look at every detail so I make sure that you have all the necessary information in order to perform this moves. If you've never handled a deck or you've never programmed before, don't worry, because every move is explained in such a manner that we're going to have everything you need in order to exit this modes. When a magician for the past 11 years, mastering and creating sleight of hand. I've been traveling around the world, teaching my magic, water magicians and have collaborated with magic companies such as theory 11, which was behind the now you see me series, England magic panting part vanishing game, and all other magic companies, some of which you probably don't know, some of which you probably have heard about. But in the end, I've accumulated experience working with these companies and have matures as a teacher and as a magician, so that I can be here in front of you guys and teaches this beautiful art form. So guys, let's grab a deck and let's get into the art of farming. Hi. 2. 2. What is Palming?: At its core, a palm is defined by the fact that the spectator has no idea that it ever happens. So if you fully execute these moves, the spectator, we'll never know they even did them in the first place. So that's why I really want to stress the fact that once you learn these moves is now really about showing them to respect the third, but rather about never knowing that you've ever used them. And you do that by putting them under different disguises, such as reaching for something to grab and in the process forming a chord. Or you know, if you have a tire something and you're pulling that and then you palming the cord. Or if you just dusting off something off of your shirt and you're palming the court, or maybe you're moving the deck where you're giving him to the spectator, urges gesturing like this, and then acquired the spawn. Wherever it is. You're disguising it, it an action. Because once it is revealed, the spectator will always be looking at your hand as if you have something in it. And that in itself can be a weapon as well, which we're going to be looking over, how we can actually use that against the spectator later on. But it's essential to know that a poem needs to be practiced in such a way that it looks natural. It doesn't seem like you've done anything. It just looks as if your hands have been moving naturally as possible. And in that process you have pond the chord. It should not in any aspect look like you're doing something to the deck. Like you're trying to do something, you know, and in that process, you've put on the card. Yeah. I'm just going to move the coil over here and it looks, it looks like it did something. Probably, you know, the spectator will know they did something because it's obvious. So we really don't wanna do that. That's why we are going to be looking at how to make these moves completely invisible. 3. 3. The Classic Palm: We're going to start by learning how to classic Palm Court. This is a method where you're actually palming the top chord in your right hand. And this method has been popularized by dy Vernon. And it being such a natural way in which the right-hand grabs the packet from above and the court is instantly pond has made this method very, very popular among musicians. As such, grab a deck of cards, and let's get into this. What we're gonna do is we're going to have a pinky break beneath the top chord. As such, you can get this by pushing the car towards the right, pushing with your pinky upwards and then dragging the card back towards the left. In this way, we're going to achieve this small pinky break from the back. If we relax the chord, the spectator is going to be able to see the break from the front as well. Such what we're gonna do is we're going to hold down with your middle finger right here at the corner so that we eliminate the break from the front. And this way we only have the card, this position from the back. Once we're in this position, we're going to grip the top part of the deck with our thumb and middle finger. And we're going to bring our middle finger down along the edge of the deck. You see this edge right here. We're just going to move or middle finger down the edge in this way. So you're basically pulling the finger down. But at the same time we have the cart gripped in between the thumb and middle finger. And this will make the Court rise at an angle in this way. You seeing just going to rise in this way. What I'm basically doing is I'm applying pressure with the middle finger towards the left side and the thumb is staying static. So this will cause the cord to rise up at an angle. And if I just come with my right hand from above, you will notice that the cord instantly goes into classic poem by itself. You really don't have to do much. You're just grabbing the chords in this way and you're palming the chord in a classic palm position. So once more we have the pinky break. We raise the card, we come from above and we pulled the cord. You will notice that when you're palming occurred, the court is actually flexed into the hand. So it doesn't stay in a relaxed position as such. Because if it stays in a relaxed position and you have a gap between the cord and your hand, the spectator is going to be able to see the card. Not necessarily because the Court is sticking out here, but because when you have your hand relaxed, you tend to actually show the windows between the fingers you see in the card is able to be seen when you have your hand flexed, you'll notice that all of these windows are closed and the cord stays shut to the pump. Now, the way that we want to cover this action, because honestly, you'll notice if you perform it in front of a mirror, There's going to be a small window here in between the thumb and index finger. Right at the lower left corner where the court can be seen going in the hand. Obviously this happens when the spectator is burning the deck. That is an expression for the fact that the spectators vivacious Lee looking at the playing cards, really wanting to see everything that's happening. Or maybe because you're not really using any misdirection. As such, we're going to close this window by turning our wrist towards ourself. And at the same time, instead of coming with the right hand from an horizontal point of view, we're going to come from above C. In this way, the window is very much minimized, mostly because we're not tilted towards the right. The window smaller or just tilting it towards the left. And if we also turn our wrist towards ourselves and execute the move, this is going to completely eliminate any sort of window. And the spectator is not going to be able to see the court going to hand you grip the cards and then you put the course down, or you do any other action. So tilt and come from above and raise the court at the same time. Of course. Do not raise the card before your hand comes on top because the space is going to be able to see that. So right when you're almost about to grip the deck, that's when you rise the card instantly into the palm. Just like that. So you have it over here instantly as you grip the chords. Now as you've noticed in the trailer, I was looking at my watch and then when I turned the hand, I instantly had the cord into palm position. This sort of action motivates me having the risk turned and also motivates me coming in, gripping the chords once more. Obviously, this sort of action is not singular, so you can do other actions in order to cover the poem itself. One way of doing this is just to pull your sleeves up and then you have a reason to come in, grip the deck and then palm the cord. Or as you're going towards a want or you're going towards the court case or towards a pen, you can instantly use the palm to palm the cord and continue the motion. What I advise you to do is to try all these different actions, such as looking for a pen inside your jacket. You know, you're searching everywhere. Then you're gripping the packet and you're searching for the pen. This sort of misdirection is what will miss direct the spectator from looking only at the deck. Because your attention is not towards the deck, your attention is towards finding the 10, for example, then the spectators going to be searching unconsciously for the pen as well. Such, not only that, if I make another small parenthesis. Also, if you're training under different circumstances, not only are you going to train the, the poem and move your attention away from the palm, which will relax you and make you learn this even faster. But you will also prepare for the different situations when you actually want to pull on the cord. So that being said, guys, practice the poem, practice getting the pinky break, getting it in position, and all of this. So you can have a very smooth classic palm. Hope you enjoy that. Now we can move on to learn other coupons. 4. 4. The One Handed Palm: Now we're going to learn how to top palm card using only one hand. And from an exposed point of view, the poem is gonna look like this. Basically going to be doing the exact same motion that we learned in the classic palm. But instead of the thumb and middle finger, they are making the card go up. You're going to have the index finger and the pinky. There are doing the exact same motion. From an exposed point of view. The pinky is pressing down on the corner and then going on the corner of the deck in order to raise the chord in this position. While over here we're going to have the index finger that is going to keep the college in position. So as long as you know that it's exactly the same method, you can basically already start doing it by yourself. But there are a couple of things that you need to keep in mind. First, the deck is actually held in a very firm grip. What I'm actually doing with my middle finger, ring finger, and thumb is that I am keeping the deck very firm. Whereas in my left hand, I can just hold it firmly because I don't have to think about the deck very much over here. I need to hold it firmly between these three fingers because I'm going to be applying quite a bit of pressure with my pinky in order to get the car to pop in my hand. If I would be not applying this pressure. The deck many times I see this is a good deck. But what happens when you're not applying pressure is the cords are going to go towards the right. This Copart deck from a cartoony that I'm using is actually phenomenal. And I see, even if I don't apply a lot of pressure, the cards stay in exactly the same position. If you have a deck that is like this and you don't need to firmly grasp the deck in between those fingers, then you're, you're in the lucky position. But many, many decks that I've handled before or actually needed to hold this deck in a firm position. I'm not saying you should squeeze it. I'm just saying you should hold it firmly. Once you have that point in mind. The next point is that your pinky is actually going to go down this coordinate. It's going to go on it 100%. So you're going to pull on the cord and the palming happens because you're moving the corner and then your pinky is going to press on this corner and move down that line of the deck. And because I am pressing down, I can move it. And as you notice, the court has now popped yet. But what happens in a split second when I'm performing it as I'm pulling it to the right, I'm still now releasing it from my thumb as you notice. And then I'm continuing the poll until the car just escapes the thumb and rises up into the pub. Now one thing that I've noticed. My students do. When I taught them the one hand, the top palm is they would not actually go down on this corner, sort of like in a vertical position, almost completely perpendicular. Is that yeah, I think I used the word right. Almost completely perpendicular. On the ground. They would go at an angle. And what that does when you're going at an angle, you're not really applying pressure over here. The card will completely pop out of hand and we'll be able to be seen as you see. So if you continue the motion and you don't go on the corner, you see how it goes. But if we pop the cord and then I start moving down the corner, cord will go in the palm. So I'm going on the corner. You see how I'm applying pressure over here and I'm going down the corner. Now to facilitate the card going into the poem, what you can do is you can bring, as you notice, I'm bringing my thumb towards myself so I can adjust the card being in top arm position. So it comes over here and then I am doing this motion, see where I'm opening my palm so that the car can go into classic palm position. All of these things have to be done one after the other. So first you learn how to pop the card, then you pay attention to your thumb finger. Then you pay attention to just how much pressure you apply with the pinkie ring. And as such, slowly learning each one of these steps at the end, you can do them simultaneously. So I don't have, you don't have to worry about all these things at the same time because it can be a bit too overwhelming. So just try and focus on each individual aspect of the palm before moving on. Once you can kind of get a grip for it, what you can do is start forgetting about doing the poem and focusing on when you're doing the palm. So your top owning the card as you release the deck in your left hand, then your top arm in the card as you drop it down on the table. Or maybe your top bombing the court as you're gesturing, talking with the spectator, you don't really need a spectator. You can just talk imaginary with somebody or you can move your hands like this. But don't move them up because then you'll see the card. So just gesticulate like that. And then at the same time you're going to have the card in position. This is very helpful because you really want to move the spectators focus away from the deck and onto what you're talking about or what you're doing. This in magic is called covering the small motion with a big motion. That is covering the secret. What a bigger motion. And if the secret is palming the card, I'm moving my hands and a bigger motion to cover what is happening. Not only that, but you will also be prepared for the different situations when you want to execute the sperm. And it doesn't matter if you're gonna do it with your friends or your mom or if you're gonna do it on Zoom, Instagram, whatever you're gonna do this, it's very natural to do something with the deck when you're doing the palm. Because imagine yourself, you wouldn't be palming the cards. You want to just stay there like this and then palm the card without saying anything and then move on. You would actually be doing something. You'd be gesturing with your hands. You'd be putting the course down. Anything you would do to continue the story. You'll be doing. As such, try and mimic reality with the fact that you are doing a slight. So you want these to the reality in which you do no slides with the reality in which you're doing a slide to look exactly identical. So the spectator will now suspect they were doing something. So practice, practice, practice. Have fun with it obviously. And take breaks, relax your hands because it can get kinda tiring for your pinky finger in your fingers after awhile. And this will really slow down your learning curve. As such, do take breaks and come back to it after a day. If you feel unmotivated or you feel frustrated, we're not getting it. A promise you in a week stops. You're going to be able to get this on a daily basis. 5. 5. The Bottom Palm: Just as the title says, this next poem happens automatically as you swing cut the deck. This action over here is called Swing cutting. It is when you lift off a packet from the top using your index finger. And then you move it in between your thumb and index finger of your left hand and you pull it forward. And you keep doing this. So as you swinging the deck into your other hand, that's where the name comes from. A swing cut. If we want to do the cut, and I would expose the poem just so you see what would happen. Imagine I am swing cutting the deck here. I'm taking the packet and then the court would just be pulled into Python. So as you see, it happens automatically just in the motion of moving my hand forward. The way that this happens is by first getting a pinky break above the bottom chord. And you do this by tilting the deck a bit towards the left. And this will allow you to have access to the bottom card instantly. If the deck is not tilted towards left, it's going to be a bit harder for you to get that pinky break. Usually you would keep the deck in this position where it's tilted towards the right. As such, it makes it a bit harder to get onto it. So I advise is just tilted a bit towards the left. And you do this by using your fingers, your ring, and middle finger. You just pressing down while moving leftwards with your thumb. Base right here. And then you're going to pull down on the bottom kern. So you get a pinky break above that and then you move it to your right thumb. And as you can see, when I'm moving it to my right thumb, initially, it's a pinky break just over here. We just have space over there. But then when I move it to the right thumb, I grip the entire deck except the card. And then I pull down a bit only to grip it and have quite a wider break. Don't worry about this. The entire thing is headed by your left hand and actually the spectator won't see anything. So everything is happening just for you. And most of the time you only will look at your deck once you get used to doing this palm. And we'll just do it unconsciously without looking at the deck. So now you have a thumb break above the card. What's going to happen is you're going to contact the inner left corner of the bottom card with the base of your thumb. As you move forward. Just like this. Initially, we're going to learn it with pope of our thumb. But this is not the part that we're going to use during the cut. Because when we're going to cut, actually the cart is going to contact this part of our left palm exactly where the lifeline is. So we're swing cutting and that's exactly approximately there is going to contact the coordinate. Well, in order to get the idea of what is happening, we're going to learn it with this part over here initially so we can tack the corner and we move forward. So I just want you to do this a couple of times so you get the idea of what's happening and what you're gonna do. See you're just moving forward and this is revolving around the middle finger of your right hand. So just moving forward in this position. And then at 1 you can just pop that chord. You see? So I'm contacting with the top of my thumb that are moving forward and I'm calling the court. Do this a couple of times just so you get the idea of it. So you're moving forward and then palm it. Moving forward and parliament, my right hand doesn't do anything, just stay static in this position. So now moving my left hand forward, it can calmly palm it. Now, once we get the hang of that, what we need to do is start swing cutting the deck. Now, as I mentioned previously, the poem itself doesn't happen when you're swinging the leg so you're not contacting the corner and then your swing cutting the deck. Actually it's the other way around. You're cutting the deck naturally in your left-hand. See, I haven't done anything yet. And then as I move forward, that's when I drop the card into the palm. So those things are gonna happen here. I'm just going to drop the card from my right thumb C. And then I'm going to contact that with my palm here. I've already dropped it. And then I'm just going to flex my my hand inwards so I can contact that corner and then steal it exactly into Paul now it's slipped out of it. So I take the packet, drop the card, and then I moved forward to palm. It, cut the deck, clip it between my thumb and index finger, drop the card, and then Paul on it. And this is what happens actually in a split second. So you're cutting, you haven't even separated yet, but you can tack the corner and then you move forward. So it's not like you cut and then you come close and you move forward. You want it all to be one motion. So you're close to the deck in this position. You're cutting the deck. You've dropped the card and then you're stealing is forward. Wait, there we go. Here. And then we still it forward. If you want in the beginning, you can instantly contact the corner and then cut the deck and have it instantly into poem. That's gonna make it much, much easier for the beginning. We're just instantly contacting. You're making the swing cut. The cord is already in position and only have to do is move your hand forward. And then once you're getting the hang of things, you can do it at any point. You can call me later, you can program it as you go forward. You can parliament before whatever the situation calls, you do it and you get a pond. Now, sometimes it's going to happen there, you're going to palm it. Quiet very far away, see as it is right now. And what I do after I finish the cut, I come with my right thumb. I place it on the court and I moved the court inwards and I'd push it and I lift my left thumb a bit so that a court can go in. I squared the deck in this section, you know, motivating the fact that that's why I actually came with the thumb so I can square the chord. And that action, I've actually pulled the court in a better position. So I'm here. The court is outside. I finish, and I push the court as a square of the deck as such. And the court is now pond. So guys, that's pretty much it for the automatic bottom palm. Just practice with one cut and then finish the deck. One cut and then drop the rest records. Then once you get the hang of that, you can put it on another one. And you keep repeating that drill in on until you are comfortable with cutting as many packets as possible. And then even if the palm comes perfectly clean every time, try and force yourself to get it outside a bit so that you are prepared for those situations when that will happen and you have to square it up. So I hope you enjoy that Tom, Have fun with it. And now we can move on. The middle Automatic palm. 6. 6. The Pocket Palm: The following poem is useful when we would like to have occurred instantly pond when we get a deck out of pocket, what is happening is that we're performing a chord that we have prepared before. So let's say this is the core that we would like to POM. The court is moved in this vertical position. So imagine my left hand is actually the pocket. When my right hand reaches into the pocket to grab the deck, it instantly overlaps the scarred. Then my thumb moves underneath and I can just grip the deck, bring it out. And I have a card that is already pond. So this card, this position like this, we move it into the pocket. Just make sure that both of them stay in the same position. And then when we reach in, we just can go grab the deck. And the court, as you can see, is already sitting in my palm. Because all I have to do is literally just go on top record and grab the deck. Now, let's say you would like to do this on the spot. You wouldn't like to prepare the card beforehand. You would rather like you to do it in front of the spectator. You've controlled their selection to the top, and now it's time to palm it. But you don't want to do it right now in front of them by using the classical method or by doing something else. While you can instead do is flip the deck as such. And then when you inserted in the pocket, imagine my right hand is the pocket. You're placing the deck inside and then as you're coming outside with the fingers, you're pulling the top chord and then you're just positioning it so that in the future you can poem it. So I put inside, I take them one coordinate, I've already positioned it. Now I can just go inside of my pocket and bring out the deck with the card already popped in my left hand. So once more, the debt goes in my pocket. As you can see, I instantly pill just one card, I turn it and then I bring my handout. And this entire thing happens in a split second when I'm putting the deck and that I'm bringing my handout, then I can just go back in and palm the cord as I bring the deck out. So play around with this idea and see what else you can do with it. You can have the packet in your breast pocket, you can have in your back pocket, you can have multiple pockets and arrange the courts at the same time as you're putting them in. Whatever it is, you do, just make sure that it fits with your act and what effect that you're doing. And most of all, just try and have some fun with it. 7. 7 The Keyword Theory: It is important to start thinking about how can I move out of my comfort zone. I've learned about how to top palm card from the deck. Can I do it with two chords? Interesting, I can do it. What would I do with these two cars once I have them? What if I make an appearance? Instead of making the court appear, I can insert it in the deck and it looks as if a card has popped out. What if I can use it as a vanish instead? Just have occurred on top of the deck, pretend to take it in their hand and then it vanishes. So what is it that you can do with a pore? And it is essential to play with it. You take the thing slide that we've learned and you put it together with other keywords. And this is the theory that I'm going to be passing on to you, the keyword theory. Sometimes it's very hard to wrap our mind around what actually we can do with something that we just learned. And it's because we're sitting in a hall, imagine with millions of thoughts and it's hard to just pick a couple. As such, we gotta move in a space, in a box where we can focus all of our creativity. So I do that by choosing keywords. I have the first word that is pom, and then I choose keywords. Vanish, appearance, multiplication, switch, transformation, traveling, transposition, restoration, destruction, trying to think the man on the spot, and levitation. So these are just ten that I've told you right now, which can write down. And you can use these to narrow the thing that you're thinking about and then use all of your creativity, creativity in that spot. So for example, let's take pom and transformation. It's easy just going to think about how you can use a pond to transform one coordinate to another. And you're just going to steal a card from the top, from the bottom, you have it over here and there's just going to place it on top of another card. What if, while you're performing the chord? So the method that we learned, you're taking a four and I are in this position when one card is Paul underneath them, one card is Pong on top. So how can I make a change from this position? Maybe I can somehow retain the stop card and place the Palm Court on the table so we have a switch. But just because we've narrowed down what we're thinking about, we can instantly, naturally move to other keywords. Maybe it's going to be a bit difficult for us to do something when the court is in our left hand. So we're going to think about how we can actually move this chord in our right hand, and that is a transfer. So by choosing a keyword, we naturally will move to one or another keyword. But what it actually does is it makes it comfortable for us to play. And that's what I want you to do. I want you to be comfortable playing, making mistakes, coming up with bad ideas, man, parody is doesn't matter. Doesn't matter. Just come up with ideas, any sort of ideas. And we'll make it fun. You will also be using your brain, which is very useful anytime you'll be developing your creativity. And it's going to be fun. Because once we change up the routine, we're not just drilling, we're just practicing the 11111. Okay. Just do it again and again and again. Once we start having fun with it and start trying to different stuff, what if I can perform a bottom and a middle at the same time and you're going to be able to get a pinky break with their upon the first one. The second one kind of worked. So it makes you feel enthusiastic about something that you're trying to achieve. That's what I want you guys to try and do. 8. 8. The Back Palm: To execute this bomb, we're going to get a pinky break beneath the top card. And this fashion. And what's going to happen as we're going to use this space over here in order to execute a back part. Now, if you're not familiar with a back palm, what that is, where the magician takes a playing card and palms it behind the hand. Now, in order to execute this bond, we have the cord on our ring and middle finger, thumb above. And then the pinky and index finger are on the two sides of the card. From this position, we're going to hold the core between the pink Ian index and curl the other two fingers underneath. When we extend the ring finger and middle finger and use the pink and index finger to flex words. We're going to pause on this chord behind our hands. So we're on these two fingers, clip them from the top and side, curl, extend and at the same time, flex them inwards to execute the POME. From this position, we're going to contact the corner of the chord with our finger or thumb. I'm already curling the rest of the hand inwards so I can have access to the corner. And not only that, but I can move my index finger underneath the cord and produce it. So we're over here. We call them inside a contact the corner, I bring it and then I instantly produce it. And when you do it fast, that looks like that. You know, you come inside, contact the corner, move your index underneath and pop both. Because I'm pulling and at the same time I'm pushing with my index and releasing from my pinky. Because right now my pinky is holding onto the cord and it's waiting for me to release the chord so it can produce it as such. And this will create a nice pop effect. So we're basically going to be doing that when the two hands come together in this fashion. We're going to be palming the chord behind our hands. So we execute the pinky break. And we're going to extend our pinky fingers and just inserted in this space, you see the ring finger and middle finger are already in position to execute the backbone. As you can see, they're curled. And all we have to do is continue the motion of turning our left wrist towards the right so that we're index can contact the side of the playing card and back palm the card instantly. We're basically just placing the court in backbone. You see. And all our fingers from the right-hand have to do is flex so that we can pull the cord and have it there invisibly from the front. And from this position, we're going to bring our left thumbs underneath the deck, as you can see. And then let it let the deck fall towards the right and bring it on top of our hands. See us do that once more. Thumb underneath, push towards the right. And then as we're holding the deck, we're going to turn our wrist and put the deck in our right hands. When you do that fast, It's got like a really nice see turn because I'm also using my right fingers over here. To turn on them. So I'm here and I turned them on the right fingers. So it's got this nice twirl effect. But not only that, because I'm not just doing it for the flourishing part of it, but it provides me with enough cover in order to back palm the cord. Meanwhile, you see. So just play around, first of all, with Pauling the cord, like this in searcher ring for use the same card, use the same currency. I'm using the same chord and it's so easy for me to palm it, I even have to get a pinky break because the Court is already bent so hard. So use the same playing chord so that you can easily palm it. And then when you've already mastered that, just use it with another chord. You have a pinky break. Move your pinky bit towards the middle so that your other pinky can come in this position over here. Not only that, but by moving the pinky towards the middle, you're going to create a bigger gap for your right pinky finger to insert in that spot. Let's go back to our band card. Over here. Insert the pinky finger, turn our restores. The right fingers are in position, so only the index finger has to come and grip that card. Then we flip the packet on top of the hands. Another thing is essential when performing this, that you should not extend your pinky finger already as the two hands come close to each other because it looks a bit fishy for your pinky finger to be reaching for something when you shouldn't be reaching for anything. So just relax your right hand and exactly the moment when the two have come an inch close to each other, that's when you insert your pinky finger inside and you execute the move, you know. So let's talk a bit about the action under which you're covering this. There are three ways in which I used this. One is with a flourishing way, which I think is the best. Then the second one is for looking at the watch. And you can just look at the watch over here. And meanwhile you've backbone the card, which is basically the same thing. You're going in position, you're palming the card, but instead of flipping the deck on top, you're rotating your wrist and then you're looking at your watch using a right-hand meanwhile, to point at the watch and eliminate any suspicion that you have something in your right hand. And then you can go on and do whatever you want, produced the chord, or give the deck to the spectator for them to shuffle or anything. And then the last one is when you contact the tool and you're putting the deck on top of the table. That one is my least favorite. But it's under certain circumstances really does work. Just bombing the court and you're putting the deck on the table. And meanwhile, you can move your hand behind your back or do something else. But the one that I really do advise you guys to work on is the turn and twist as such, because it's really beautiful and at the same time as convincing as well. Not only that, but it's fun. This one is the funnest. So that's pretty much it for the watch back palm. Hope you guys enjoy it. I hope you have fun as much as I did with it. And good luck practicing it. 9. 9. The Overhand Shuffle Palm: One of the most natural and most often see in shuffles is the overhand shuffle is the most spread, everybody does it. So when a spectator sees this, didn't really suspect a lot. They were doing something, you know, when you're doing something like a riffle shuffle, It's very fascinating to look at. So people are literally looking at your hands. But when you're doing an overhand shuffle, it so usual in ordinary to C1, but it doesn't attract attention as search being able to Paul McCord, while doing an overhand shuffle is very useful. We're going to be pulling a card from the bottom of the deck. We're going to use the six of spades as an example. And we're going to have the card on the bottom. The thing is, we're going to perform an overhand shuffle, but at the same time we're going to keep the cord on the bottom. And we do this. I'm going to switch to my right hand so you see what's happening. We're gonna do this by contacting the back of the card with our fingers. And when we take the packet, we're going to retain that card over there. So that's what's actually happening over here. I'm contacting the back of the chords. I am taking a packet, but at the same time, I'm retaining that chord on the bottom. I continue doing the overhand shuffle. But over here is very important how I let these packets run down. You see, I'm loosely pulling my thumb on the coin and a search. These chords are going in a messy way. They're spreading always upwards. And then when I finish, I have a reason to tap the side of the deck because it's during that tap there, we're going to put this card up, push it up, contact where our index and this line over here and this part of our thumb contacted press down and then make it pop in the hand. So it's push contact, release and make it pop in the hand. Once more. We're going to retain that chord on the bottom. What I, what I do usually when it's face down because people don't really know. I actually already push it up a bit because it just looks as if the deck is messy. And while it's over there, I can already push it even further. Let me square it up here. So initially it's over there and then I can push it even further because the rest of the cards are already overlapping on top and they're blocking the view of this chord. And then I'm performing the Paul. So we're keeping that corn on the bottom. And over here, instead of pressing firmly on the cards and getting a squared up packet, we're just loosely taking hard see, loosely releasing and taking courses. They all spread up like that. When I'm over here, I have the card, I push it up. I can tacked it. I release it with my left fingers and the card pops. From the exposed point of view was happening. Let me show you. We have the back of the card, which is which is up. And then over here, I'm going to press on the court and I'm now releasing yet. But then I release with my fingers and the card will pop into POM. So that is actually what's happening over here. Well, you're now seeing just over here and then releasing and the car tops up. After I have the chord in POM, or I can do, is I can grab the deck and continue talking. Or I can just give the deck towards the spectator for them to shuffle. Something which I like doing is Dino hero overhand shuffle. You've probably done it before, right? So just give the deck a shuffle. So I'm using the overhand shuffle as an example. While I'm asking the spectator if they can do it, they're thinking about if they can actually shop, always going to be a yes. And then you offer them the deck to shuffle, meanwhile, palming the card secretly, so you're engaging the spectator in a question which misdirect them from your hands. And then you have free space and time to palm the court from the bottom. Obviously, if you want a poem, a card from the top, the only thing you have to do is just flip the deck and do it like this. Instead of like this. There you go, guys, that is the overhand shuffle palm of you guys enjoyed that. Something very useful. Have fun with it, and let's move on. 10. 9. The Middle Palm: In this part, we're going to do pretty much what we just learned previously when we were palming the bottom card. But instead of forming the bottom chord, we're going to perform a chord from the center of the deck. Now I know, I know that might sound a bit intimidating, but if you get the bottom palm at a level where you're comfortable with it, you're going to be able to do this in a cheapy. So just let's just follow along. And I'm sure you're going to get the hang of this quite quicker than you think. You get a pinky break above the chordae you want upon. So right now we have a pinky break above the king. You see? What I'm gonna do is I'm going to pull this cart towards the right and then push it towards the left. You see, once again, we pull it towards the right using our pinky and then we push it while still hanging onto it towards the left in C. And it will end in this angled position. Now, if you're not comfortable with pulling a card down, I want you to just keep doing this until you can do it easily because this is the building block of the entire palm. So if you can't do this, you pretty much can't build upon. So you gotta be able to get comfortable with this and just keep doing this. It's pretty much just keeping the deck intact in this position. And then pulling with the pinky down to better explain what unfeeling when I'm pulling down, I'm feeling some strain from the standard over here and I'm really holding firmly, not very tight, but firmly with my thumb and index finger so I can pull down on the card. Once it's over here, I'm going to relax it because I pulled it at an angle. If I relax it and let it go towards the left, it's going to pop underneath the thumb. Now when you hold your thumb over there is going to be in the way you see if I'm going to try and push it is going to contact my thumb and it's not going to go out. What I wanna do is lift my thumb above that card and keep it on the bottom half over here now the bottom half, the top half of the deck. So above the king of diamonds, just like this. And what's going to happen as we're going to push down on the corner of this chord. And this will allow us to have access instantly at all of the cards above the king and C. So we have over there we push down and then I can instantly just cut there. So we're pretty much in this position. And then we pull down and we push towards the left. You see, then we're going to pull down on the card instantly having access to all the cards above with our index finger and being able to instantly just swing cut that portion. So that is why we're kicking this towards the left, but not only that. Because what is happening once we swing cut the cord, because the king is at an angle, I can instantly have access to the lower left corner of the cord. And from this position, it's exactly the same poem as we previously learned. You're going to contact the lower left corner and then you're over here. I'm already contacting the lower left corner and then I'm moving my hand forward. And then I will instantly just rotate that chord into my left palm. We have a pinky break pulled towards the right, push towards the left, move the thumb, press down on the cord, instantly have access to all the cards above. Swing cut. And then we pull as we contact the corner, the deck towards ourself, or we move the hand forward most of the tower, just move the hand forward. That is it. Now, we're going to have to talk about angles with this one, because if you're going to look in the mirror, you're going to see that it's going to be visible when you take the card, be it face down or face up. So what you need to do when you're executing the palm is something that magicians called neck tying the deck. So you're going to turn your wrist towards yourself. See, I'm here, but I will not be performing this position. Rather, I will neck tie the whole thing. I'm turning my restores myself. I'm palming the cord, and then I'm coming back in the position in which I started in. So we're here. We pulled towards the left. We have access instantly turned the wrist towards ourselves, palm that card, and then return back to the initial position. And as previously mentioned, if the cord is sticking out a bit, you can just come with the thumb and square root inside so you have it left palm. And there you go, guys, see not that intimidating after all. As long as we take care of a couple of points and we master daughter may bottom palm, then we can apply everything that we learn there into this bond. And once we do that, we can start having fun with this bom. Bom. 11. 10. The Acrobatic Palm: The following Pong is more of a stunt. It's something that you're going to show off to your friends. And you're going to feel very, very good for actually pulling it off. Or you're technically doing, is you're palming a guard as you are flipping it into the air. And this happens due to a top and then to the habit of flexing your hand in this way and palming the corn pollen in the court, in the emitter, That's going to be the most difficult part, the most fun part at the same time. But it's very essential that we get to do the path the correct way. So the way that we do this is by pushing with our thumb towards the right side and leaving our fingers on this part of the deck, this will create a bubble. You see I'm pushing and it bends the card creating the space where I can insert my index finger just over there. And then two things are gonna happen at once. I'm going to release from my fingers over here and you see the card already pops up a bit because I'm pushing with my index finger up. And then at the same time when I'm releasing here, I'm going to push up a lot with my index finger like this. And at the same time, I'm going to rock my hand forward. Now when I'm explaining this to you because I'm just doing the top. I'm you know, I'm doing this motion with my hand straight upwards because I just want the court to flip in the air. But when I'm doing the poem, I'm actually throwing the cord you see diagonally into the palm. This is actually what's going to help me be able to palm the court in midair. Because if I'm just going to pop it up in the air, it's going to be very hard to catch it over there. But if I am doing this motion of throwing a tours the hand, there we go. Over here. Then it's going to land in position much better. I'm trying to I'm trying to do it. Well, having you guys this is a bit more difficult. We go, you know, it actually goes much better in position for the hand to palm it. Then if you would just go straight upwards, because the card is technically being thrown at the poem. And exactly the nice disposition for you to Parliament. So buckle towards the right and search your index finger. Start pressing upwards, release over here. And then rock the hand up in order for the car to pop and flip in the year. And then when you got the pop down here, do the same thing, but you're throwing it at the, at the weighting hand. And then it's all down to exercise. As you have noticed, I haven't gotten this 100% at all myself. So when I do get it, I feel very, very happy. Uh, just just practice, practice trying, doing. And then when you kind of get it started showing you to your friends and it's going to feel very, very nice when you pull it off. Last tip regarding this. If you're gonna do it with the card face up, what you wanna do is you want to bend it. So it's like this. You're bending the deck inwards. So when you flip the card over, it's already going to be pretty much bent for your hand to palm it in this direction. Say much easier for me to catch it in the ER in exactly the best position because it's already bent away. So once more, we gathered over here, we call it and we continue the motion. Just like that. We continue the motion. And from there on, it's just if you arrive in this position where you're flexing it outwards, AECOM with the thumb and you just press it inwards as you continue the motion. And that is the O palm. 12. 11. The Wave Palm: In this poem, we're going to be stealing the second card from the top and classic palm position in our right hand. And we're going to be using this motion where we're dragging the top card of the deck towards the right. We're not releasing it from our thumb because we could just drag it and it would pop up. But we don't want that. You just want it to move a bit at an angle and give you this really nice window where you can Paul the second chord. Because that's exactly what we're gonna do. We're gonna be palming that second chord as we drag the top card towards the right. So I just want you to get comfortable doing this where you're pulling the cord and you're retaining it with your thumb. I do that by having a firm grip on the sides of the deck with my thumb and middle finger as I'm pulling the top card towards the right. And you see because the Pope of my thumb is overlapping the corner of the deck, then the court is not being released, it's stays there. So just play around with this and get comfortable with doing it. If you're already comfortable with doing that, you're perfectly set to be able to do the spawn. So we've dragged the core towards the right. What we're gonna do right now, we're going to contact the corner of the card from the top and from the bottom with our index finger, with the base of our thumb. So let's do that with the top chord and then we're going to apply it to the second card. So we're just going to come as we're waving on top of the deck, grab the corner of the top chord with our index finger. And then the side, the inner corner of the card with the base of our thumb over here. And then just move it into classic positions. That's exactly what's happening. I am palming. I am flexing inside. Once it's in this position, I want to be able to relax my ring, my index finger, you know. So once it's flexed, the corner is going to be gripped by the pinky finger. And then once the rest of the fingers come on top of the chord and they're all flexed in this position, I can extend my index finger and the card will be fully pond. So I want you to be able to do this with just one chord. Or you picking up that one chord into classic palm, see, just one card. Sometimes you're going to pick out too, but it's sold in the fact that you're contacting the corner of the chords and then you're moving just one chord towards the left, after which you're flexing it into Python. So one card, you can tacked it. You move it towards the left. See, I'm just moving one card towards the left. And then I'm pulling it into classic palm. Because what we're going to be doing, we're going to be pulling the top chord and we're going to contact the corner of the second chord and steal it exactly into Po1. And that is all that's happening here. Just like this. I'm palming the second card. You have the eight of diamonds I pull. I can tack the corner with my index and the base of my thumb. Then I pull it out and I move my fingers on the card. As said, still the card with the rest of my fingers on top. Grip with my pinky fingers so that I can extend my index finger. And this is all that you have to do. Just keep doing this. Sometimes you're going to take more cores like I did just now. It's not a problem. The There's just to be able to keep stealing that second card. And at the beginning, it's not going to look that smooth. You know, you're not gonna square of the car. You're not going to steal just one card. But the idea is to get a feel for what it means to only grip that one card. I would just watch Netflix or just do something. Mostly watch YouTube or Netflix. And just keep on doing this palm on and on and on and on. And I would grip more chords or less cores, but I only wanted to be able to steal that second chord in a very casual manner, get the feel of gripping that chord. The idea behind this is that it's a palm, so it's not a color change. You could do this as a color change. I'm not saying you couldn't. But once you're doing a palm and you're stealing the second chord without the spectator knowing that you're stealing something. You don't want them to look at your hands, so you must mask this under an action. That is why in the trailer you've seen me go and reach for the court case because I'm using the motivation of my right hand coming above the deck because I'm going for the court case. So when I'm doing this, I'm taking the card, I'm contacting it, gripping the court case and moving it. So this is what I want you to do. Once you get a grip for stealing that second chord, C I gripped more over here. So you get a grip for stealing that second chord. I want you to try and reach for objects. So I'm going for a pen over here on gripping recording going for the court case. After you gripping objects, you can go and parliament and pull your sleeves up. Or you can stop something from your sleeve. We can thus have something from the table. The idea is to mask calming under an action. And then you'll get something that is less visible or at least attracts a lot less attention towards your hands. What's beautiful about it is that it really does allow you to pull more chords. So what you can do, you may be, let's say you don't want to use it as a poem. You want to use it as a vanish or you want to use it as if melting the cords through the deck. You see it looked as if I melted the eight through the deck because I, Paul and half of the deck in my right hand. You can pop the full deck as well. When you're doing that, you're gripping the entire deck in your right hand. And then you're just retaining the top chord by putting your fingers on the face of it and pulling the rest of the deck out. And in this position I have the eight and the rest of the deck is in my palm. And I do this. What I want to say, you can see that over here underneath my arm is the full deck. Right now here we have the eight of diamonds. So this allows you to be able to do quite a multitude of things, such as vanishes where you're palming the cord and then it vanishes. So just performing and producing fans from the deck. Or you can just play around with it. As such. We're just changing the top card. The idea is to make it look like the top chord never moves, then you're going to have a change that is beautiful. You have it over here. You're palming the card and the top card never moves. And you've pulled the chord underneath. As you keep on practicing, you're going to minimize this window. Over here. You're going to palm the card. And then after it's over here, you bring it back. And then with time you're going to go from this to lead to less to less to even less. So that when you're squaring up, you can do it very fast after you've bombed the cord. You can do the square of very, very fast. So it looks as if you've never actually done anything to the deck. So guys, that's pretty much it for the poor palm. Practice it while you're doing something else is going to take a bit of time to get accustomed to it, to stealing the second card. But I promise you, this is one of those things that is going to be so much more worth as you keep on mastering it. And it looks impeccable. So have fun with it. It's a beautiful poem, and I hope you enjoyed it. 13. 12. Final Words: We've arrived at the end of this Skillshare course. I'm very happy guys that you've given me the time to take a look at the slides, to learn them, to practice them, to master them, to go out and perform them to audiences, or to record yourself and put yourself on social media and other platforms. It makes me happy on the inside, makes me happy on the outside, honestly, just knowing every time I see a new student, it just makes my day better. I'm like, that's a, that's a new place. And you know, looking at this moves men and learning them and they're going to pass it on to somebody else and more magic for everybody. And that makes me happy. So guys, I hope you guys enjoyed this. Even if you only took one slide or two slides, three ideas. You know, you can take these and nurture them and make them into something bigger. Very happy they've chosen towards the Skillshare course. My name is Beth. See you guys in the next course.