PULL OFF VANISH

PULL OFF VANISH By Richard Robinson The magician holds up his right hand to show a thimble on his first finger. His left fingers close around the thimble and pull it off the right finger. The close left hand is raised to shoulder height and with a tossing motion the fingers open. The thimble has vanished. The Pull Off Thimble Vanish is one of those sleights that isn't particularly easy to do and needs its angles watched, yet is quite useful as a convincer when a simpler sleight has been used several times in succession. Handling The open left hand moves behind the thimble on the right first finger. The left hand closes and rocks forward, apparently pivoting on the top of the thimble. The thimble and right first finger are momentarily blocked by the left hand. The partially closed left hand contracts to grasp the thimble in the left palm, allowing the right finger to come out of the thimble. The left hand rocks back, the right finger extends and the left fingers wrap around it hiding the fact there is no thimble. As this rocking forward and back takes place, the right thumb goes into the mouth of the thimble. A view of the right thumb engaging the thimble as the right first finger straightens out. To spectators it appears the left fingers are curled around the right first finger and thimble. The right thumb slides down to escape from the closed left hand. The closed left hand begins to slide up the right first finger as if tugging the thimble off the finger. The left hand continues moving up, the back of the right hand is kept towards the spectators, the thumb positioned so it is not visible. The left hand opens to show the thimble has vanished. Presentation The initial moves match those used in a thumb palm thimble vanish: the thimble is on the right first finger which points up, the other fingers and thumb of the right hand slightly curled down and relaxed. The back of the right hand is towards the spectators, the body turned slightly to the left. The left hand opens out, fingers apart, palm to the spectators, and moves up until the center of the palm is directly behind the thimble. The left hand moves against the thimble, so the top of the thimble contacts the center of the left palm. The left fingers curl in, covering the extended right finger and the thimble. This contraction of the left hand results in the thimble being gripped in the left palm. The closed left fist now rocks slightly forward. At the same time the right first finger curls down and the right thumb tip extends up. If the positioning is correct the right thumb tip will go directly into the mouth of the thimble. As soon as the thimble is on the right thumb tip, the left fist rocks back and at the same time the right first finger straightens so it is above the right thumb and under the curled in left fingers. At this point the right thumb with the thimble on it will be partially trapped inside the left hand under the extended right first finger. The right thumb swings down and out of the left palm, the second, third and fourth right fingers extend out and apart. The back of the right hand is towards the spectators, the right thumb moves in toward the palm and extends upstage to hide the thimble behind the right hand. The left fingers are curled around the extended right first finger. The right hand is held stationary, the left fingers move up the length of the right first finger as if pulling the the thimble off the finger and the closed left hand continues up until it is about shoulder height. The right arm relaxes down slightly, the focus moving to the left hand. The left hand makes a tossing motion and at the same time the left fingers open to show the left hand is empty, the thimble having vanished. As this tossing motion is made the right arm can relax and move down further, at the same time the right fingers curl in to remove the thimble from the right thumb and finger palm it.

CLASSICS

CLASSICS By Richard Robinson There are sleights and effects that have been used by magicians for so long that no records exist of their origins. Many of these sleights and effects are given the honorific classic as recognition for their effectiveness as manual technique or for creating the illusion of magic. Some sleights, such as the Classic Pass and Classic Palm, are specifically identified as manipulations worthy of being mastered by the magicians. Other techniques are considered classic in their intent, for instance the second deal or double lift, but the manner in which they are best executed remain a matter of opinion among performers. Classic effects and the props needed to accomplish them vary of course with the era or century. Some, such as the Cups And Balls, are traced back to early civilizations. Others may have established themselves more recently, for instance the Chop Cup or Card To Wallet. Some classics will eventually fade from magic consciousness because the objects involved are no longer familiar to the audience, although magicians will sometimes persist in using objects and references long after they have passed out of common usage. It is worth investigating manipulations, effects and props touted as classic - not just in this era but in previous eras. In some instances the reason for a trick's success and popularity may be dependent on the moment in time it flourished; in other cases magicians or their audiences may have tired of it as they sometimes do. All of this is important because classic usually means dependable and performable, qualities less frequent than the magician in search of material might expect. It should also be noted that some classics have antecedents that aren't quite classic. For instance Michael Zens version of Cards Across where three selected cards pass by magic from a sealed envelope held by one spectator to another sealed envelope held by a second spectator was proceeded by numerous effects, some with cards others with coins, that didn't quite achieve the impact of Zens' effect. Another example is the Egg Bag which began as an entirely different trick and and prop then it is today. Understanding why a specific method and handling raises an effect to classic status is an important issue in determining the value of a trick, its mechanics and its potential to appear magical. The why of what magicians do and have done is as important as the how. The happy combination of a nearly perfect how and why will usually result in a classic accreditation; however interpreting a classic for use may require more work than simply accepting it as classic because it is touted as such.

CARD MEMORIES

CARD MEMORIES By Richard Robinson The magician hands the spectator a packet of nine playing cards. He asks the spectator to mix the cards then spread them face up on the table. He then asks the spectator to mentally choose one card, concentrate on it for a moment, collect up the cards and mix them again. Removing three coins from his pocket which he places on the table, the magician deals the cards into three face up piles. The spectator is told to note which pile his selected card is in and place a coin in front of that pile. The magician gathers up the cards and deals them out again, again asking the spectator to place a coin in front of the pile containing his card. The magician repeats this dealing for a third time and again instructs the spectator to place the last coin before the pile of cards containing the one he is thinking of. Gathering up the three piles, the magician deals three cards face down on the table and places one coin on the back of each card. He asks the spectator to point to a pile. The spectator does so. The magician gathers up the other two coins and places them on the selected pile. He puts the two unselected cards back in the pack, presses on the coins for a moment, then turns over the only card on the table. It is the card mentally selected by the spectator. Props & Setup Nine playing cards, three coins. The coins can be borrowed from the spectator. Handling

The coins are positioned by the spectator to indicate on each deal which pile contains the thought of card. How many coins are in front of each pile will depend on the location of the card as you deal.

This is a self-working effect using a simple principle that is completely obscured by the introduction of the coins which have absolutely nothing to do with the working. For that reason you should put as much focus and emphasis on the placement of the coins as you can, handling the cards as if they had little to do with the effect. Give the cards to a spectator to mix, mentally select one card, mix again then return the cards. Deal the cards into piles of three as explained below, each time a deal is completed have the spectator place a coin in front of the pile currently including the thought of card. The cards are dealt out from left to right into three piles. The first card going on the left pile, the second on the center pile, the third on the right pile, the fourth on the left pile and so on in rotation left to right until each pile contains three cards. Whichever pile the spectator marks with a coin becomes the center stock when you pick up the piles to reassemble them into a packet for the next deal. For instance, if the spectator puts the coin in front of the center pile, the right or left pile is picked up first, the center pile then added under it and the remaining pile added under that. The selected card (in this case the Six of Diamonds) is the middle card of the top three after reassembling the packet from the third deal. For the first two deals, the three cards that include the selected card are placed between the other two piles when the packet is assembled. After the last deal, the pile containing the selected card goes on top of the other two piles when the packet is assembled. After the third deal the selected card will be the middle card of the last pile marked by the spectator. When you pick up the piles this last time, assemble the packet so that the three cards from the marked pile are on top of the packet. Now deal out the three cards face down onto the table from left to right. This puts the selected card in the center. Ask the spectator to place a coin on the back of each card. The Revelation

There are three possible endings, although only one out is needed. Tell the spectator to touch one of the coins (not one of the cards.) If the spectator touches the center coin, take the two other coins and add them to the center card, then take the cards on the left and right and return them to the packet.

If the spectator touches either the left or right coin, take that coin and put it on the center card. This leaves two coins on the center card and one coin on another card, the result will be as pictured, with one card taken away, the center card with two coins on it and the other random card with one coin on it.

Tell the spectator to point to another coin. This is a bit of a psychological force. Say 'Coin.' No matter what the spectator points to, take the single coin and add it to the two on the back of the center card. This approach makes the classic magician's force impossible to detect. Touch the coin(s) on the card as if pressing lightly on them, then slide the card out from under the coins, turn it face up and leave it on the table. Move back a bit and let the spectator focus on the card. Performance Notes The surprising impact of this effect may tempt you to repeat it. Don't.

OKITO'S COIN VANISH By Richard Robinson The magician flips a coin in the air and catches it in his right hand. He then opens his hand, showing it front and back with the fingers wide apart. The coin has vanished. While this vanish has probably been around forever, the first description of it in detail appeared in Okito's book "Quality Magic" published in 1921. The move is one of the more brazen in the art of what magicians call sleeving. As Okito noted it is an easy sleight to do with practice, but a difficult one to do convincingly unless the timing is exactly right. Handling The traditional heads or tails move of flipping a coin is the basis of spinning the coin up in the air, although to a greater height than the normal flipping move. The coin must travel up to a point where the arm can be extended. As the coin travels up and then begins to fall the performer turns his arm so the back of the hand is towards the spectators. The second finger of the extended hand should line up with the falling coin. The coin falls down behind the hand, at which point the spectators no longer see the coin. The hand apparently closes around the coin, catching it. The hand is opened to show the coin has vanished. The hand is then turned palm down. In reality the coin travels down behind the hand and falls into the sleeve. In learning the move, if the coin trajectory is wrong, the performer can catch it with the fingers and immediately release it to fall into the sleeve. If the shirt sleeve is loose enough, the coin can go into the shirt. Many performers prefer to pull up the shirt sleeve at the shoulder so it is snug against the arm which allows the coin to fall into the coat sleeve. Handling Details The natural magical tendency would be to flip the coin once or twice before working the vanish. However Okito implies that it is best to avoid this, simply spinning the coin up, catching it and then opening the hand to show it is gone. Performance Notes The diameter and weight of the coin will influence the handling to a certain extent. Work with a larger, heavier coin until the move can be done successfully, then decide on the coin to be used and practice with that coin.

COINED AGAIN

By Richard Robinson Nothing is more startling than ordinary objects becoming extraordinary in the hands of the magician. Often a clever effect done in this manner will stay in the mind of the beholder longer than more elaborate magic. In Coined Again one coin suddenly becomes an entirely different coin. Sleight of hand is required as well as practice. However magicians will find the rehearsal time involved well spent, since this effect can be done anywhere, at any time. In the illustrations large diameter coins have been used to make the progression clear. It is important to practice the routine with coins of varying sizes if you intend to borrow one of the coins to effect the transformation. Every diameter coin handles differently when it comes to palming and manipulation. Props Two coins of similar diameter or one coin and a borrowed coin of like diameter. The coins should be of contrasting metals. The routine can be varied to have the borrowed coin change to a button, medallion, or other unexpected object. Routine & Handling Two coins are needed, preferably the same size but of contrasting metals such as silver and gold. Keep one coin in the left pocket, the other in the right. Put your hands into your pockets as if looking for one coin. The gold coin is palmed in the right hand, actually it just lies at the base of the fingers and the hand is kept closed so it cannot be seen. As you bring you hands out of your pockets, bring out the hand that is holding the silver coin first. Place the silver coin on the table in front of you. The right hand reaches over to pick up the silver coin. The gold coin remains concealed in the right hand, unseen by the spectators. Once the coin is picked up it is revolved so that it is clipped between the first and second fingers. This must be done casually while you comment about the value of the coin. Note that the third and fourth fingers have curled back slightly. This is a natural position. Don't press these fingers into the palmed gold coin, it must continue to be held only loosely in its concealed position in the hand. The left hand is opened fully. It is parallel to the floor, palm up. The right hand moves until it is over the open left palm. Then the right hand moves down until it is just about touching the open left palm. This conceals the open left palm from the spectators' view. The spectators think you are placing the silver coin onto the left palm. In fact, you are allowing the concealed gold coin to drop out of the right hand into the left palm. The position of your hands makes it impossible to see this happen. With the gold coin no longer in the right hand, the silver coin is now thumb palmed by the right hand. This is why it was clipped between the first and second fingers. Swing the first and second fingers (and thus the silver coin) back towards the thumb, at the same time move the thumb away from the palm. As the edge of the silver coin hits flat against the side of the base of the right finger, the thumb closes again so that the base of the thumb presses the silver coin against the base of the right finger. The left hand is closed over the gold coin; the back of the right hand is towards the spectators. The right hand gestures towards the closed left hand. This gesture allows you to keep the thumb palmed coin out of sight. The left hand is opened to reveal that by magic the silver coin has become a gold coin.

GLIDED By Prof. Hoffmann One of the easier ways to force a playing card is to start with it at the bottom of a face down deck held in the left hand. The right finger tips pull back the top cards and the spectator is asked to say 'Stop.' When he does so, the fingers slide the pulled back stock off the rest of the deck and at the same time the right thumb goes under the deck and pulls the bottom card back to join them. The performer then turns the right hand stock towards the spectator who sees the bottom card of the deck as the bottom card of the stock. Most magicians like to make a bigger deal out of forcing a card and so this force doesn't see much use. In a way it is a bit heavy handed as the right fingers and thumb wind up holding the stock in a deep grip. There is a variation of this force that keeps the cards much more at the finger tips, allowing a more delicate handling at the cost of being slightly more difficult to do. The spectators of course shouldn't be able to tell the difference, but this is of little interest to the serious card worker. Moves Sequence   The bottom card is in jogged slightly. The right hand moves over the deck,the thumb and fourth finger contact the bottom card edges.   The right fingers pull back the cards from the top of the deck. The top stock is moved back and off the bottom stock, the bottom card taken with it. The top stock is turned to show the spectator the card stopped at. Handling After noting the face card of the deck, hold it face down in dealing position in the left hand. The first move is to slide this face card back so it is in jogged about 3/4 of an inch (19 mm) towards you. There are several ways to do this. The most difficult is to use the left first finger to catch its edge and push it back. Easier is to square up the deck with the right hand, in the process sliding the entire deck forward except for the force card. Least obvious is to demonstrate to the spectator what you're about to do, in the process setting up the force card. The right hand moves over the top of the deck, the first and second fingers touching the top front edge. In doing this the right thumb and fourth finger are at the back of the deck where they will encounter the opposite edges of the in jogged force card. Only a slight pressure of the thumb and finger are need to get hold of the card. The first and second fingers now start pulling back the top stock of the deck more or less one card at a time, asking the spectator to say 'Stop.' whenever he likes. When the spectator does so, the right fingers and thumb slide the top stock back and then away from the left hand. Since the thumb and fourth finger are holding the edges of the bottom card it will travel along with the top stock, becoming the face card of the top stock. The right hand is raised up and turned to face the spectator, the cards of the top stock being allowed to collapse into the palm. The spectator is told to the look at the card he stopped at, in fact the known face card from bottom of the deck. This handling was described by Professor Hoffmann in "Modern Magic" as the easiest of forces.

Thimble Talk Dear Mr. Magic, When I do magic with thimbles very often there is audible noise when the thimbles nest or unnest. What will the audience think if they hear this? Dear Magician, There are any number of props, ranging from thimbles to stage illusion boxes, which are liable to make noise during their manipulation. Magicians refer to this as the prop talking. Unless the sound is part of the effect, for instance coins dropping into a bucket during the Miser's Dream, this noise has to be suppressed in one fashion or another. In some cases where the stray sounds are unavoidable music or other sound effects are used to mask the unwanted sound. In other cases the prop may need padding or dampened to avoid noise. In the case of small props working on a thick close up pad off deadens sounds. With a good deal of practice and attention to handling the sound of metal thimbles nesting can be eliminated. However, unlike working with coins, metal thimbles can be replaced with plastic or wood thimbles which are inherently quieter. If you are unable to reduce the clicking sound by reworking your sleights then switching to plastic or wood thimbles shouldn't lessen the effect significantly. A thimble is one of those familiar objects which the spectators recognize by shape and location (on the end of a finger) rather than by what they are made of. In addition magic dealers offer cleverly nested thimble sets which appear to be a single thimble, allowing multiplications and vanishes without complicated sleights, providing some advantage over plain metal thimbles. Colorful Magic Dear Mr. Magic, What are the most effective colors to use for silks, production items and other props so they're visible to the audience? Dear Magician, This is an important issue that many magicians seem unaware of or chose to ignore. If magic is touted as a visual art, visibility should be just as important as artistic presentation. In other words there's no magic if those watching can't see or properly understand what the magician is doing. Visibility issues are dealt with by proper staging, prop dimensions in relation to the distance to the spectators, pointing up, timing, tempo, and lighting. These are theatrical considerations which the performer must understand, appreciate, and craft his magic to satisfy. The color or finish of props, costume, and stage set are all important and must not be ignored. One might assume that producing red silks from a red box or wearing a black suit while working with a black egg bag obviously diminishes the visibility of what's going on but many aspiring magicians often fail to understand that color equals visibility. Color and more importantly the contrast of colors is crucial to successful visual communication with the audience. In addition various color values elicit different responses, information that is well known among theatrical set and lighting designers but so far hasn't reached most magicians. Without going into the moods elicited by hot and cold colors, those interested might want to read up on theatrical conventions. The easiest way to achieve a semblance of control over color and visibility is to consider each object in relation to what its background will be for those watching. If there is contrast between the object as foreground and the background then the object's visibility will be maximized. If the colors are close to each other the audience will have difficulty seeing what's happening. Go sit in the front row and see for yourself. Some colors have more visual impact that others. Red, a favorite color for silk producing and vanishing magicians, is an example. In fact magicians seem enchanted by red green blue yellow. Of course this soon dulls the impact of the colors and makes the performance repetitious. Vanishing and appearing red silks, appearing and multiplying red billiard balls, empty and full red metal tubes, red to yellow silk color changes in the hand, red yellow and blue blendos. One might think they're seeing the same trick repeated using different shapes. Magic dealers aren't that much of a help to aspiring magicians since with only a few exceptions they decorate props with primary colors, offer only primary silk colors, and otherwise assist the magician in acquiring props that have a certain sameness. Given most magicians unwillingness to redecorate their props the result limits the contrast potential. While it is probably wise to avoid the explosion in a paint factory effect of too many colors, it is just as important to ensure the visibility of each prop and object by having it be an appropriate color. The end result of this effort will not only create a certain harmony that makes the magician's magic unique, but will also give the intended effects their full potential. Challenged Dear Mr. Magic, What's the best way out of a challenge situation where someone insists that I do a trick but is only concerned with catching on to how it is done? Dear Magician, There are challenges and then there are challenges. Some close up card and coin workers perform effects where they challenge those watching to catch them out. While this kind of trickery has no place in theatrical magic, it can be effective in the I'm cleverer than you are approach to fooling an audience if not entertaining them. As for a spectator placing demands on the magician with the intent of showing up the magician, this is an issue that is best addressed by avoiding it. In fact its a good time to hear you phone ring and take the call. There are people who don't like to be fooled and don't like magicians. They have a mean spirited, confrontational approach anticipating that the magician will go away. And probably he should. On the other hand if for some obscure reason the need to badly fool the challenger can't be controlled, it is worth learning one of those challenge effects that are used by the card and coin workers mentioned above. Of course you'd better have the challenge effect down cold, messing it up will only prolong the experience. The most important thing a magician can learn is how to stay at least one step ahead of those watching. Whether working on stage or impromptu this is a valuable ability since it gives the magician the opportunity to avoid mishaps which spoil the magic as entertainment. Staying one step ahead can mean any number of things. In this instance it means having an effect where the secret work is done before the spectators are aware anything out of the ordinary has occurred. You'll have to think about this in relation to the tricks you perform, if one or two don't satisfy that requirement, then find a couple that do. With adequate preparation and proper presentation it doesn't take much to fool someone. The secret is to be ready in advance so when the challenge situation arises you're prepared to deal with it. Openers & Closers Dear Mr. Magic, Any suggestions for the final effect in a close up show? Dear Magician, Every magic show has three distinct portions. The introduction when you present yourself and your magic to the audience; the various effects you perform during the body of the show; and the ending when you present your final effect. Many performers refer to the introduction as the opener and the last effect as the closer. There are many philosophies about putting together an effective show and just how it should open and close. Old time illusionists often opened by appearing in a puff of smoke and then presenting a dozen or so flash effects in two or three minutes. They closed their shows by filling the stage with assistants and quite literally waving the flag of the nation in which they were performing. The opening effect is where you set the entire tone of your show. It is also where the audience gets their first look at you, hear you speak to them for the first time, and decide whether they like you and should sit back and have a good time. So the opener is about creating the proper atmosphere, a satisfying visual and reaching out to make contact with the audience. Some performers break this into two portions. First they create atmosphere through some highly visual silent effect, then they step forward to speak with their audience for the first time. The most important part of the final effect is letting your audience know the show has ended. This is not as simple as it may seem. After all, it is just one more of a series of effects. Some performers simply announce that it is their last effect. Others, with a better understanding of theater, choose an effect and dialog or music which makes it obvious that the show is over. Much of how this is managed depends on the individual performer. It may be as simple as dialog that makes it obvious the show has come to an end or as complicated as filling the stage with more noise and activity than the audience has previously experienced during the show. Every performer must work out the opener and closer to suit his or her particular performing style. There are some tricks that will help along the way. Among them are simply making it obvious through dialog and body language that you're done, this can be a simple as the kind of bow you take. Or you can choose an effect that is more splashy and colorful than anything you've done up to that point, then increase the tempo of your performance to make everything happen more quickly until you come to an abrupt and amazing halt. Finishing clean is also an issue, you don't want audience assistants on the stage when you end or to be holding a bunch of props or standing behind something. Keep in mind that it is you that is finishing the show and accepting the applause, not your tricks or props. As to particular effects that might work to open or close, there is really nothing to recommend. Any effect is potentially the correct one if it works for you, and just because it works for you doesn't mean it will work for anyone else. Magic really is wrapped up in the personality of the magician so the only secret here is to perform effects that you really enjoy doing.

Go Ahead, Ask Mr. Magic Mister Magic sees all, hears all, can center tear with the best of them and isn't really afraid of balloon animals. He's also a really nice guy who's happy to explain the inner workings of the arcane art of magic, if you don't ask him how David Blaine does the snap change. If you've got a question you'd like Mr. Magic to ponder, transport yourself to the Mr. Magic email form.