Practice when you want to. Practice should be fun, not work. A lot of the books are available on Amazon but also magic sites like Penguin Magic, L&L Publishing, Hermetic Press.
For color change and vanish type effects, your best bet is to start with Card College Volumes 1 and 2 and then move on to the Art of Astonishment series using Card College 3 through 5 as references for the moves Expensive, but you will be learning correctly.
If you are in the Northeast, send me a PM with your location and I can point you in the right direction. Also, if you are anywhere near Philadelphia or New York, there are a lot of great venues to meet other magicians. Plus, I'm always willing to grab a coffee, lunch or dinner with other Magi in that area. My advice is to check for local SAM or IBM rings.
Obviously, he can use any method he wants. The question is the BEST method. What is the best method depends on the context of the effect. A Marlo Tilt could work in some instances where the magician has control of reinserting the card (especially if you have a double backed card on top) ; a side steal to palm might be great if you want to hand the deck to the spectator to shuffle and then put the card on top; a control to the bottom followed by a gambler's cop might work it you want to reverse the card; a diagonal insertion is simple and clean; getting a break, cutting and riffle shuffling is easy and flies by anyone; Lee Asher's Losing Control is amazingly clean; an injog shuffle done casually could be perfect.
The problem is you are learning a sleight and then trying to find a context to use it. It is like learning to bang a hammer and then using it to pound nails, crack walnuts, kill flys and type on your computer. Use the right tool for the job.
Why learn something that you will rarely use? The pass has acquired this mystical aura of being some sort of holy grail of skill. I can't tell you how many kids I've met that want to show me their pass. Then when I ask them to if they use it in an effect, the answer is "but didn't you see how good my pass was?" I simply smile and tell them that the idea is "not to see" for a move to be good. Anytime someone asks to show me their pass, I know that they have little experience actually performing for live people.
I have probably around 200 magic books in my library with around 75 effects on average in each book. I would guess that out of the 15,000 effects there are less than 100 that use the classic pass.
Other than goofing around with cards, name one effect where you use the pass in performance.
No. Spend your time learning fundamentals. In time you spend working on a classic pass to get it performance ready, you could go through an entire volume of Card College. You are best learning a variety of methods, sleights and plots than spending countless hours learning a sleight you will never use.
Also, focus on learning effects (what other call tricks). Learning sleights does you no good if you don't know how to use them.
Thank you for the offer, but I live in southern Virginia.