Study On Cards

Advice on Practicing the Pass

2011-09-14T04:41:00.000-07:00

Film yourself doing the pass, full body shot. When reviewing the clip, cover up the screen where your hands would be. Can you tell when the move is executed?

Till then,
-d

The Joker

2011-01-23T17:33:00.000-08:00

Back in 2008 I created this mess of a trick. I used to think it was nice. Now it feels like I tried to ram as many sleights as I could into one routine. It's sleight porn.

I still like the premise though. Since I always have a Joker in the deck, there are potentials.

Till then,
-d

The Creeping Reverse

2011-01-08T05:44:00.000-08:00

This move can be found in Jennings '67, p.141, entitled Vernon's Creeping Reverse. I read through it about a month ago and thought it had potential, especially since it's Vernon's. The description says he perfected it "with not one iota of wriggling or fiddling to create suspicion". It sounded impossible so I thought I'd play around with it.

It feels like a pass and essentially it is. Therefore my view for this is the same as for the pass (refer to here) but it can somehow be categorised with the Gravity Half Pass. The move feels like something Aaron Fisher would do. At the moment, I am not satisfied with the final motion where the card is reversed. The movement of the right index finger is clearly visible. Going to try combine the idea of pivoting from the Gravity Half Pass into this.

I also need to adjust the timing of the move; Not when to do it, but how long it should be done for. Vernon probably did this very slowly. In fact, the book says "very very very slowly". Hence the title, I guess.

Till then,
-d

Dr. Daley's Last Trick Convincer// Update

2010-12-29T05:23:00.000-08:00

Since I posted this in April, I've updated the handling so that every card is now taken from the bottom, unifying all actions. For the original handling, refer to here.

- Set Up: From top down of the face down packet, Ace of Spades, Ace of Clubs, two red Aces.

- Turn the bottom three card as one around the long edge of the packet and place on top to show one of the red Aces. Turn the triple back onto the packet then place the top card on the table, or on spectator's hand a la Bannon.

- Take the bottom two cards as one and flip them over on top, the Ace of Spades will show. Act as if it's a mistake and turn the double back face down.

- Take the bottom two cards as one again to show the other red Ace. When placing it on top of the packet, outjog the double so the back of the supposed Ace of Spades can still be seen. Execute a Tamariz Turnover and place the outjogged card with the card already set aside earlier.

The new convincer is that after the apparent mistake, the back of the supposed Ace of Spades is constantly seen throughout. Therefore it becomes more impossible that it can end up in the spectator's hand. The important subtlety here is that the Ace of Spades, being the most dominant card, stays in the back of the spectator's head where they will subconsciously keep track of where it is. Whilst the red aces are the cards in play, the Ace of Spades is the bookmark that consolidates where everything is.

Till then,
-d

2011

2010-12-28T16:32:00.000-08:00

In preparation of 2011 I have started to tidy this place up for some serious blogging. Useless posts were deleted and others were rewritten for clarity. As much as I hate attention, I want this blog to have readers. Some one out there must appreciate some of my efforts.

Please don't expect new effects or moves everyday. I'm no Calen Morelli. This is still just a diary for me to keep notes. I'm not here to sell anything. I'm just here to write.

Till then,
-d

On Uniformity Of Action

2010-11-21T19:31:00.000-08:00

An article pulled from my personal notebook.

Perhaps the most valuable passage in Erdnase is his thoughts on the uniformity of action. In essence, he proposed that we must stay true to our 'customary manner' in all situations so that the onlooker cannot distinguish the truth from the blind. This is particularly important regarding card-table artifices as any unusual movement or behaviour will raise suspicion. Also, it becomes easy to predict the artifice employed, simply based on watching for patterns in each move. Fluttering of the left fingers whilst dealing gives away the execution of a bottom deal but the pattern of the flutter indicates when the deal occurs, betraying the identity of an ally receiving the cards.

Whilst Erdnase's dissertation applied to card-table artifices, in modern days it becomes just as important for legerdemain. This idea is thoroughly explained by Bob White in his DVD, Card Magic: A Practical Approach. He pointed out that double lifts, false counts and other sleights should be performed uniformly in every situation, regardless of its usage. A double should have the same action as a single, just as a single should look like a triple.

However, the concept does not only apply to one sleight and its variations. It should expand to include the performer's entire vocabulary. A single lift, by definition, is to display a card. Therefore the action should also be adapted to when performing a top change, or an Elmsley Count. In short, there should be a string of connections flowing through moves of different genres, whether that is of action, timing or attitude.

Referring back to card-table artifices, an area where uniformity of action is compulsory is false dealing. False deals include seconds, bottoms, greeks, centers and doubles. each deal should look identical not only to a top deal, but also to each other. Therefore, a 'master' grip is desired so the player can execute any move without change in action, timing or attitude.

By now it should become obvious that in order to acquire uniformity, the player must not only practice each move individually but together as a whole set of arsenal. It is also just as important to examine the true versions of the move. Using Erdnase's example of true and blind cutting, it may be worthwhile to examine the true cut carefully so that when learning the blind it may be modified to simulate the true. Nevertheless, in some situations "the resourceful professional failing to improve the method changes the moment". If, say, the blind cut cannot be modified any further, it may be easier to adjust the true cut instead. This method of modifying from both ends allows for a uniformity balanced between the two. Afterall, blinds are devised out of trues, therefore our freedom to establish a true from scratch can help expand the potentials of artifices.

There is, unfortunately, a downside to following this concept religiously. Some unique moves become obsolete amongst the uniformity. This is especially true for sleights developed in recent years. Secondly, the performer becomes constricted by his own routine, unable to execute moves out of his uniformed list without arousing suspicion. This restricts the variety of sleights and effects available. In this case, the performer's personality becomes a crucial factor in an entertaining performance; but that is an article on its own for another time.

The Pass

2010-04-26T15:15:00.000-07:00

I've been reworking my pass for the last 3 months. This is what it is so far. I'm fully expecting criticism but before you do, I've already written what I think needs work.

There are several main problems in different passes I've seen so far:
- Movement of the right fingers
- Readjustment of either hand
- Obvious tension
- Flickering of the left index finger

I'll give my solutions of these problems respectively:

Movement of the right fingers:
Focus movement on left fingers. Make sure right hand remains absolutely still and applies minimal pressure to the deck. Only enough to hold the lower half of the deck. Use the thumb and middle finger to hold the deck in biddle grip, not index finger as this encourages the middle finger to lever the lower half up. Keep all the fingers on the deck so there is no room to flutter/tense. The most obvious giveaway is a sudden bend in the knuckles.

Readjustment of either hand:
Start the pass in the exact position from when you have the card returned. In my case it is when the spread is closed. Adapt the pass to your natural movement, not the other way around. As I square the deck, the deck natural rocks back and forth because of my left thumb going up and down the side of the deck. Execute the pass while the thumb strokes down, eliminating the "top packet flash" as it gets pulled away.

Obvious tension:
Relax. Exercise the left fingers on its strength and speed. Those are the only fingers that should be involved in shifting the upper half. The lower half stays completely still.

Flickering of the left index finger:
Curl the left index finger underneath the pack. This avoids the flash and it doesn't get in the way of the right fingers. I curl the finger all the way towards the inner end of the deck to minimise the top half's distance of travel.

When it comes to the pass, I'm more interested in naturalness than speed. Even Larry Jennings had obvious tension when he executed his passes. This is especially evident when you see the performer from far away. The shoulders tense up, the arm stiffens, the body language gives away the move long before the move does.

I might post a video of an exposed view soon. For now, I'm happy using the pass as a control. To use it as a change, I'll have to eliminate the rocking motion, which means more speed by the left fingers. I will also post more videos of my pass in due time to illustrate my improvements from practice.

Till then,
-d

A Forgotten Sleight: An Instantaneous Change

2010-04-17T02:41:00.000-07:00

Read this from LePaul's book a long while ago and I've never seen it being used. Even though it has a few flaws, I think it's a great move with potential.

Changed things around and did the move with the deck face up. A visual retention is created when the card is stolen back onto the deck because the back of the stolen card blends with the back of the deck. Also you end clean (at least cleaner than having a face up card on top of the face down deck).

Could be used in a Colour Changing Deck routine using a Red/Blue double backer. When the double backer is unloaded with the move it is on the top of the deck ready to be used again.

Or in an All Backs routine, using a same coloured double backer second from the top.

Here's an example:

Till then,
-d

Dr. Daley's Last Trick Convincer

2010-04-15T18:14:00.001-07:00

Been playing around with this after reading John Bannon's version in Dear Mr. Fantasy, then reminded myself after reading Jennings' version in The Cardwright.

It's not anything entirely new, but just brings an extra layer of psychological subtlety to the whole thing.

- Set Up: The red Aces are sandwiched between the black Aces. I prefer the Ace of Spades being on the face of the packet.

- Block pushoff the top three cards to show one of the red Aces, turn them face down then place the top card on the table, or on spectator's hand a la Bannon.

- Take the bottom two cards as one and flip them over on top, the Ace of Spades will show. Act as if it's a mistake and turn the double back face down.

- Take the bottom two cards as one again to show the other red Ace. When placing it on the top of the packet, I outjog the double so the back of the supposed Ace of Spades can still be seen. Execute a Tamariz Turnover and place the outjogged card with the card set aside earlier.

The new convincer is that after the apparent mistake, the back of the supposed Ace of Spades is constantly seen throughout. Therefore it becomes more impossible that it can end up in the spectator's hand. The important subtlety here is that the Ace of Spades, being the most dominant card, stays in the back of the spectator's head where they will subconsciously keep track of where it is. Whilst the red aces are the cards in play, the Ace of Spades is the bookmark that consolidates where everything is.

Till then,
-d

Presentation// Time Travel

2010-04-07T07:52:00.000-07:00

I want to create a new trick, or an existing trick with a new presentation on time travel. The concept is not exactly new. Jay Sankey has his Triumph routine Back In Time, Steve Freeman's got his Time Machine. I just think there's a lot more potential to this concept.

An existing trick that might fit quite well is The Mystery Card plot. There would be a timeline on the table and the Mystery Card is placed in the future. Throughout the trick we would progress along the timeline, where the selected card vanishes from the present, then reappear in the future as the Mystery Card. This way a visual element is added to the trick, making it easier to understand.

Till then,
-d

Palm Studies

2010-03-27T04:29:00.000-07:00

Been studying different palms this morning. Found quite a few flaws that need working on.

First, my left hand. Not entirely happy with how dead my second, third and fourth fingers are. The hardest thing about palming is to be natural after the palm. Looked at many good "palmers" such as Carney, Jennings and Ben Earl, they're somehow very natural in their way of "conducting" after the palm. Need work on that.

Not the best example here, but there is a clip of him somewhere literally flickering the fingers during a palm.

Some good palms in there, but the highlight of this is the choreography, eliminating the length of time between palming the card and disposing it. Any longer and it becomes unnatural.

Going to rewatch Carney On Palming at some point. An excellent resource on learning not only palming techniques, but how to break the action and become more natural.

Another great resource is Bob White's Practical Card Palming.

Meanwhile, here's a video. The palms I'm practicing are:
- Topping The Deck
- Lowey Palm
- Braue Tip-Up Palm
- Side Steal
- Diagonal Palm Shift

Lowey Palm: The right thumb is sticking out too much. The taking of the deck becomes unnatural.

Tip Up Palm: Flashed. Though really a move that ought to be done with misdirection.

Side Steal: Not satisfied with the right thumb. Still looking for a way to steady the deck without placing the thumb on top. Or at least not the whole thumb. Tried clipping the deck with just the crotch, might experiment more.

Till then,
-d

Ernest Earick's Proteus

2010-03-22T10:27:00.000-07:00

Been rereading some chapters of By Forces Unseen. Here's a performance of Proteus:

Now would this be better off as a webcam trick? Certainly.
Does this mean I shouldn't do it in real life? Not necessarily.

This trick will be better off in a tabled situation, where the sleights are better covered. However, the point of these knucklebusting sleights is that it eliminates 'moves'. The hidden sleights are covered by visible movements. It allows the trick to be direct and to the point.

Personally I still have a few movements to tackle, the reversal for example. I know the body turn eliminates pretty much everything, but I hate body turns. Unless its motivated to do something else, I never turn my body. Besides, this is a trick meant for one-on-one, so there's no use turning to other audiences. Also the pause between the reversal and the extraction of the outjogged card must be eliminated. More practice I guess.

Till then,
-d

Setting Up For John Bannon's Dead Reckoning

2010-03-21T08:28:00.001-07:00

Dead Reckoning is certainly one of the cleverest card tricks ever devised. Principles upon principles, direct plot, and most of all, fun to do. It's one of those tricks you can't stop performing because it's not only strong for audience, but entertaining for yourself. However, the only downside is its full deck setup. I've been trying to find a way to set the deck up from a FASDIU situation and recently stumbled upon a relatively elegant solution.

To begin, the deck may be borrowed but it must be complete with one Joker. Whenever possible, crimp the Joker in such a way that when cut to, it will be on the bottom of the top half. I use Bannon's idea of combining a Breather and a corner crimp. As Ortiz would say,

"Leave nothing to chance, always remain in control."

I realised this would make no sense if you don't know the trick . If you don't have John Bannon's Dear Mr. Fantasy, I strongly urge you to buy it. Alternatively, this piece is also in his recently released DVD, Bullets After Dark. But the book is worth its weight in Plutonium.

- Position the Joker to the top of the deck, which should be easy to do because of the crimp.

- Spread the cards face up and cull all the Hearts and Spades as you look for the following four cards:
Three of Clubs,
Seven of Clubs,
Eight of Clubs and
Queen of Clubs (Club cards with five letter names)
Set these cards on the table as you come to them. All the Hearts and Spades should now be on the bottom of the face up deck, below the crimped Joker.

- Spread the deck once more, upjogging all the Aces, Twos, Sixes and Tens except the Clubs. Strip these out and place them on the face of the deck. Then place the uppermost four cards on the table. (they will be the Ace, Two, Six and Ten of Diamonds due to the previous step)

- You may now perform any Oil and Water routine using the eight cards on the table. I would recommend Larry Jennings' excellent routine, which can be found in the Thoughts On Cards DVD.

- When done, place the eight cards on top of the deck and you are now set to perform Dead Reckoning.

The whole procedure should take just under a minute to do. Each step should be easy enough to be done whilst conversing. The highlight of this set up is that every spread is motivated. I understand that the third step might be a bit confusing where you have to skip the clubs. As an alternative, you may upjog all the Aces, Twos, Sixes and Tens, place them on the face, then take the Diamonds out of the packet afterwards. However, that might break the flow of the setup.

Till then,
-d

Pivot Change// Initial Idea

2010-03-20T18:19:00.000-07:00

Here's a variation of the standard colour change. Once again it's only useful for left handers.

The idea came from looking at different changes such as the Erdnase/Houdini change and the classic colour change from a full palm a la Ricky Smith. I didn't like how the left hand is parallel to the deck, covering almost the entire face. By angling the hand slightly, it seems that much more unlikely that the left hand is just depositing a card on top. Conveniently, it also shows the top index which becomes a focal point for the audience. The change works by pivoting on precisely positioned fingers, hence the name.

It is by no means perfect. I'm not happy with the stiff dirty hand. But it's nice to know I have something to work on.

Till then,
-d

Cascade Control Peek Finesse

2010-03-18T15:57:00.000-07:00

I've been practicing the Charlie Miller Cascade Control since it was shown to me by Allan Hagen, who in turn saw the move performed by the master Ricky Smith in FISM 2006. I then relearned it from Dan and Dave's On Demand video. I've always thought it's a great control ,with some minute problems here and there. Tony Chang over at doublefacers.com talks about this in great detail and I wholeheartedly agree. Go on his blog to check it out, along with other great articles.

Whilst Tony talks about blending the move into your natural action, I'm only focusing on the technique. The one problem I've always had is the obvious "riffling off one card to catch a break" action. Since I am left handed, my method of the spectator's peek simply doesn't have the same casualness as the right handed way. I've also tried Jennings' method of riffling slowly to start with but it just doesn't work. Recently, I came upon a solution. I'm not entirely sure if it's original but I haven't seen it done before, so documenting it here seems appropriate.

Please bear in mind this finesse only works for left-handers, so the written explanation is aimed at southpaws.

- The left fingers goes on the outer short edge of the deck in preparation of the riffle. Each finger is placed right next to each other with no gaps in between. The fourth finger should naturally rest on the outer left corner. The right thumb is on the back of the deck to aid in the riffle.

- The riffle is controlled entirely by the first finger. Whilst the second and third finger does nothing but resting on the riffled edge, the fourth finger ensures the cards are riffled in parallel. What this means is that if the riffle is stopped at any point, the peeked card will be perfectly aligned with the top half of the deck. Both outer corners are held by the first and fourth finger. Invite the spectator to call stop.

- The fourth finger now riffles off the peeked card, but the first finger hangs on to it concealing the 'flicker'. It is important to note the card does not move in its relative position. This is what makes the formation of the break seem 'moveless'.

- Close the deck by moving the left hand, not the fingers. As this is done, the left fourth finger presses down so there is a flesh break at the outer left corner. Pull the break open by moving the right hand downwards, then maintain a right fourth finger break. I usually do a smooth, consistent riffle with the left fingers at this point to emphasise the lack of control. The left fourth finger naturally let go of the flesh break during the second riffle.

- From here on, execute the Cascade Control.

Here's a video:

This finesse isn't only applicable for the Cascade Control. It can be incorporated into a standard peek, so you end up with a fourth finger break above the peeked card. However if you need to control the card, the Cascade Control fits quite well.

Personally I feel that you have to road test this thing to make it your own. The reason for this finesse is because people told me they noticed a pattern whenever I do a riffle peek ("My card seems to move first. You must've done something"). This is something that can only be learned by experience, then improved by trial and error. This post only tackles the control in a technical sense. As to how and when to use the move, Tony Chang pretty much covers it all. The timing of it all is crucial, but I'll save that for a later post.

Till then,
-d