I forgot to mention, that I did get Mark Wilson's Complete Course in Magic, it is wonderful! I found a used one on either ebay or Amazon. I was not real expensive and has a lifetime of tricks and information in it...!
NEW MAGICIAN ALERT
- Thread starter d_llusionist
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**Reads comments** But.... I am an artist on T11 and was featured on 52 Kards..... :'( lol
Its all good David
I know what ya mean. lol
Its all good David
I know what ya mean. lol
Man thank you, these cardist are absolutely amazing too aren't they ? How long have you been practicing?
Thank you so much for telling me your story, you know I just want to make sure I'm flawless at all times. Call me a perfectionist I guess.
Oh, I don't know. On and off since 2015. I'm kinda "jack of all trades, master of none." The key is you should focus on one flourish PERFECTLY and then move onto the next one. Or else you won't be any good. I learned this the hard way. I got so excited and ahead of myself, I couldn't practice them all. I can do a card fan, a few cuts here and there, some changes, and a cascade. I still need to work on it.
**Reads comments** But.... I am an artist on T11 and was featured on 52 Kards..... :'( lol
Its all good David
Ordered your book by the way man I am excited for it to get here. I'm also excited to meet with you and to learn all the things you'll be able to teach me. That with constant practice I will be just as well versed in my performance as your are.
So your thought would be to take one flourish and practice it repeatedly before moving to the next one?
I wrote down this list and I'm on my way to barnes and nobles later today to study. Now I'm big on color change and vanish effects. Is there anything in particular that you would suggest for that. How often do you think I should practice?
I am jealous as I cannot meet with these guys as I live in the center of the country. Take advantage, this is the best way to learn, is having a teacher!
Well, yeah more or less. I just say that because you always need a backup plan for your routine. Say you're palming a card and someone notices and points it out. With a wince, you then say "Aww...man" hands the card " but where's the deck?" And you just recaptured your audience. Personally, I'd rather perform one decent trick very well, than two tricks and just *hope* I can do it right.
Sure glad we have the internet, when I was a kid, I lived up in a small town in the Colorado mountains. Once a year I would go to Denver to spend time with my GrandParents. I knew of 2 magic shops and I would save money all year to buy new tricks. I would spend literally hours in the stores looking at everything. Then I would buy one or two tricks....they would have to last me for a full year.
Now with the Internet, it is click and go, although I still love spending time in good magic shops.....
At least you even have magic shops. The only "magic shop" I have around here is an hour away and suspiciously looks like a knock-off party store.
He can use any method of controlling a card to the top so do not tell him the pass should be ignored. The pass is a great sleight for getting a card to the top without any weird or stupid looking moves. You also have plenty of time to control a card to the top with the pass unlike other weird and somewhat immature methods
I'm going to say it again because there is some disagreement. Learn the classic pass, not only to use it often but it highly increases your finger dexterity, in which, is very important. Once you learn it, then you decide whether or not to use it.
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.