APPARITION By Richard Robinson The magician reaches into the air with his empty hand and a silk handkerchief materializes at his finger tips. Apparition is is a mystifying opener for a silk production sequence, although despite the simple gimmick used a good deal of practice and rehearsal is involved to create the illusion of a handkerchief appearing from nowhere. Props A 12 inch / 30 cm square silk handkerchief and a gimmick made from a loop of line and a strip of playing card. Trim a 1 inch / 25 mm wide strip from a diamond back playing card. Wrap the strip loosely around the thumb to determine the diameter then paste the ends of the strip together to make a short tube. In the photographs I've covered the exterior of the tube t ube with a Bandaid® to matte down the finish. Take a length of fine thread or monofilament line, loop the center of the line over the fourth finger, then bring the ends of the line across the palm, over the top of the hand and down to the knuckle of the second finger. Slide the tube onto the line, then knot the line. The size of the loop is crucial to the handling and must be determined by the size of the hand. Handling
The diameter of the tube is The card strip wrapped and just larger than the diameter pasted into a tube, the loop of the thumb. of line running through it.
The initial set up. The fourth finger goes through the loop which is brought up and over the top of the hand.
The back view of the setup, the loop hangs down over the back of the hand, the tube positioned over the knuckle of the second finger.
The resulting silk bundle. This can be folded in half again before it is inserted into the tube.
Make a loose fist and drape the center of the silk over it. Then tuck the remainder of the silk into the center of the silk.
The silk bundle in the tube. As little of the silk as possible should protrude from the tube ends.
Back view of the gimmick in place. Note the thumb is raised slightly.
The left hand is extended stage left, the hand relaxed, palm towards the spectators.
The hand moves up, the finger tips tilting up to point towards the ceiling.
The hand moves down so the fingers point stage left. The thumb comes down and presses on the loop lines going over the top of the hand.
The performer begins to turn stage right, the hand describes an arc as it rotates causing the swing over the base of the thumb at the back of the hand and into the palm of the hand.
The back of the hand is now The handling sequence. The towards the spectators. tube swings from the back of the hand to the front, unseen if the timing is correct.
Back view of the hand. The loop now travels from the fourth finger, up over the top of the thumb and then back down, the tube hanging from the thumb.
The hand moves forward The thumb moves into the causing the tube to swing back of the tube and pushes forward where it is caught by the silk out of the top. the finger tips.
As the silk appears at the finger tips the tube is allowed to slide down onto the thumb.
Handling Details From the back it seems unlikely anyone can get away with this. From the front it is a different story as working in front of a full f ull length mirror will demonstrate. The tube swings around in a short arc since the thumb clamping down on the line shortens the line involved. The fingers are together and can be extended out to stage right to lead the hand slightly as the turn is made. Some performers will prefer to cover the gimmick in black as from fr om the stage this will cut down on any possible flashing, although more care must be taken at the finish not to expose the tube on the thumb. t humb. Performance Notes Apparition is based on Chris Van Bern's 'Simplex Hankerchief Production' which he describes in the book 'A Whirlwind of Wizardy' published in 1919 in England. In explaining the trick Van Bern notes that he'd previously contributed it to The Sphinx around 1910/11. Van Bern's original method used a line of thread rather than a loop. One end of the line was attached with wax to the hand at the base of the fourth finger. The other end was sewn to a corner of the handkerchief and the handkerchief made into a tightly wrapped ball. By using the loop and tube gimmick I've removed the disaster potential at both ends of the line at the cost having to dump the gimmick. In his description Van Bern refers the reader to 'the photographs' but the book does not include any, rather other effects are illustrated with line drawings. This effect has no illustrations at all and begins half way down a page, the combination proving a good way to hide something in plain sight.
A HAT LOADING DEVICE By Richard Robinson With empty hands, the magician picks up a top hat, shows it empty, reaches inside and pulls out a large silk handkerchief. Again showing the empty interior of the hat, he drapes the silk over his arm, reaches into the hat and pulls out a large quantity of silk handkerchiefs.
The production of objects from an empty hat is a classic premise that is often seen as symbolic of the activities of the magician, particularly when a rabbit is conjured up from the hat's interior. All sorts of objects have been found in the empty hat: canon balls and bowling balls, ringing alarm clocks, paper lanterns, balloons and seemingly endless coils of paper ribbon. While most magicians are certainly aware of the hat production premise, the actual mechanics of hat loading are rarely documented. Bruce Hurling's Hat Loading Method Bruce Hurling's 'A Hat Loading Device' originally appeared in 'The Magic Wand,' London, March, 1915. Hurling described his method as follows: A art articu icular larll nea neatt meth method od of hat hat-lo -loadi adin n whi which ch is bel believ ieved ed to be ori ina inal. l. The loa load d is is
Advanced Hat Loading Starting with Hurling's method, I've added a setup that allows the hands to be seen empty and the hat on the table before the sequence begins. Props A top hat. A large silk handkerchief. A quantity of smaller silks. A black silk. A small bull dog clip sold by stationers to clip papers together. A length of black fishing line. Setup Run the fishing line through both holes in the handles of the bull dog clip, then tie the ends of the line together to form a loop of line approximately 10 inches / 25 cm long. The length of the line will eventually need to be adjusted once the load position and handling is understood. Open out the black silk on a flat surface and place the smaller silks in a pile on the center of the black silk. Bring up the four corners of the black silk to form a bundle, then use the bull dog clip to hold the bundle closed. Roll the large silk handkerchief into a tight ball and place it on the outside of the hat under the brim. Done properly the edge of the hat brim and slight curve of the brim will trap t rap the balled silk, temporarily holding it in place. This is an old dodge which also works with a multiplying billiard ball, hank ball or any similar object. The hat is placed on a table, the balled silk on the t he upstage side of the hat. While a pocket can be made inside the coat on the left side to hold the bundled silk load, it is really easier to work the trick coming out of a black out or to start and simply place the bundle under the coat so it can be lightly held in place by the pressure of the upper arm. The far end of the fishing line loop goes around the thumb of the left hand. Handling
The A quantity balled of silk silks trapped are under the placed on upstage a black silk sideand of the corners hat. of the black
The silk hat can bundle be picked is compacted up The bundle hand holding is placed the under hat andmuch as shown asempty possible, without the covers the left the sideballed of thesilk coat. and exposing black silk the corners balled folded silk. over steals it.
A quantity of silks are placed on a black silk and the corners of the black silk brought up to form a bundle.
The silk bundle is compacted The bundle is placed under as much as possible, the the left side of the coat. black silk corners folded over and the bull dog clip gimmick used to hold the bundle securely closed.
The left thumb engages the opposite end of the loop.
The hat is picked up by the The hat is turned opening right hand and shown empty. towards the performer and moved left so the left hand can take hold of it. In the process the balled silk is dropped into the hat.
The right thumb engages the loop, pulling it off the left thumb.
The left hand holds the brim of the hat.
The right hand goes into the hat, takes hold of a corner of the balled silk, opens the silk out and lifts it up out of the hat.
As the right arm rises up, the left arm releases its pressure on the bundle which swings out and hangs behind the large silk.
Once the large silk is completely out of the hat, the hat is tilted to again show it empty.
The large silk is brought back across the hat, releasing the load bundle so it falls into the hat, and then drawn further back and draped over the left arm.
The right hand goes into the hat and releases the bull dog clip.
The right hand takes hold of the silks ....
... and pulls them up out of the hat to make the production.
Refinements Once the number of silks to be produced is determined, the black silk can be cut down until it just holds the load. This allows the bundled load to be as small as possible and thus the size of the covering silk can be reduced. The large silk must be opaque to conceal the load. The thumb should be kept back a bit so that the load does not swing into the silk. The size of the large silk is determined by the length of the loop line between the thumb and load bundle. The shorter the line, the t he higher the load will hang behind the silk, allowing a smaller silk to be used. Performance Notes Bruce Hurling's simple seeming method has much to recommend it for an easy load steal and production. While the top hat and derby have gone out of style and magicians have yet to notice the advent of the baseball cap as street wear, any familiar and suitably sized container can be used. A smaller hat or container will work if the production items are highly compressible, for instance if spring flowers are used. This allows both the covering silk and the volume needed to contain the load to be significantly smaller.
FINGER TIP BALL PRODUCTION By Richard Robinson The magician reaches into the air in front of him and a red ball appears at his finger tips. Placing the ball between the first and second fingers of the other hand, he again reaches into the air and produces another ball. This is repeated until four balls have appeared and are displayed between the fingers of the other hand.
The top of the vinyl egg is removed and a paper fastener used to create an extended clip. The four balls are compressed together and loaded into the gimmick. The third and fourth fingers hold the prongs near the base of the fingers.
The top of the vinyl egg is removed and a paper fastener used to create an extended clip. The four balls are compressed together and loaded into the gimmick. The third and fourth fingers hold the prongs near the base of the fingers. Setup Take the four sponge balls and compress them together, one on top of the next, so that a portion of each sponge ball is visible. Place the package of sponge balls into the gimmick. Gimmick Handling The gimmick is held in the palm of the hand by the t he prongs which are clipped between the third and fourth fingers near the base of the fingers. The third and fourth fingers are curled in just a bit towards the palm. This leaves the first and second fingers free. From the front the hand appears open and relaxed. The top edge of the hand should be tilted slightly forward, down stage. From the spectators' vantage point the hand appears open and empty.
The thumb tip contacts the The first finger curls in and The thumb and first finger top of the ball closest to the down, clipping the ball hold the ball and straighten to wrist, pushes it forward from the opposite side. produce it. which causes it to start to escape the gimmick.
The body is turned so the As each ball appears, it is Performer's view of the left shoulder is upstage, the placed between the fingers gimmick in the right hand. hands extending stage left. of the left hand for display.
Ball Production As the hand reaches out to pluck the ball from the air, the ball of the thumb contacts the ball closest to the wrist and rolls it up. The first finger and, if needed, second finger curl in to help grip the ball. Once the ball is between the thumb and first finger tips the thumb t humb and first finger straighten. This all takes places as the arm swings up and stops moving as the ball appears. Performance Notes Once sufficient practice has been given to levering the ball out and straightening the thumb and first finger, using the gimmick becomes quite relaxed and leisurely. This is because the gimmick rides low in the hand, leaving most of the hand free, something that can't be said of a good many multiple load hand gimmicks.
CONFETTI GLASS VANISH By Richard Robinson The magician fills a drinking glass with confetti, places the glass on a tray, covers the glass with a handkerchief and suddenly the glass of confetti disappears.
The Confetti Glass Vanish is is a colorful illusion for a platform or stage show with the vanish of the glass filled with confetti coming as a perplexing surprise after the activities the magician engages in to get to that moment. The presentation relies on the manipulation with a minimum of gaffed props. The Props Two identical plastic tumblers or drinking glasses. The glasses pictured are actually the bottom half of plastic bottles. One of the glasses is gaffed by inserting a printed paper strip which simulates a confetti and a round paper disc at the bottom of the glass also printed with the confetti design.
One of the plastic glasses has a printed insert that simulates a glass filled with confetti. The design should be printed on both sides of the sheet of paper. A circle is cut from the paper as well and placed at the bottom of the glass. The paper is rolled up and inserted in the glass. The top edge of the paper can be given an irregular trim. tr im. A plastic bag filled with confetti. Using the printing template print two sheets of paper on both sides, then make up the confetti by trimming out reasonably large pieces. Additional confetti shuld be made up from two or three sheets of red, yellow and green colored paper. A square of cardboard to act as a tray. A cardboard box with a lid. A cloth square with a cardboard disc sewn at the center and covered with a matching material.
The handkerchief, cardboard tray and cardboard box.
Setup The two glasses are placed inside of the box with the box positioned stage left on the table top. The folded cloth and bag are on the tray which is set on top of the closed box. Handling
The confetti Moving around bag, tocloth the front and tray are side of the taken table, off the the box lid and placed magician picks to the upright. the cloth The lid isshakes and openeditback. out.
The glass is covered removedwith from The tray glassisisremoved placed on and the in the cloth. box and the lid again box process the top and tilted a small so quantity the closed. of confetti bottom of the dropped tray faces into it. the spectators.
Behind the tray, the first and second fingers clamp the bottom of the glass, holding it at right angles to the tray t ray and out of sight of Noticing confetti is the scattering spectators. here and there, the magician opens the box and places the glass into it.
The tray is moved straight back until it reaches the open box. The fingers release the glass to drop into theconfetti box. is poured Some into the glass in the box.
The hand moves forward to take hold of a corner of the cloth.
The cloth is flipped open to To finish and clean up, the show the glass is gone. tray can be put back on the box and the cloth put on it.
The hand moves down and releases the tray so it leans against the box. The glass is removed, seen to be half full, and replaced in the box.
Moving around to the front side of the table, the magician picks up the cloth and shakes it out.
The glass is covered with the cloth.
The tray is removed and in the process tilted so the bottom of the tray faces the spectators.
Behind the tray, the first and second fingers clamp the bottom of the glass, holding it at right angles to the tray t ray and out of sight of the spectators.
The tray is moved straight back until it reaches the open box. The fingers release the glass to drop into the box.
The hand moves down and releases the tray so it leans against the box.
The hand moves forward to take hold of a corner of the cloth.
The cloth is flipped open to To finish and clean up, the show the glass is gone. tray can be put back on the box and the cloth put on it.
Performance Notes The magician should appear absorbed in filling the glass with confetti during that part of the presentation and only return his attention to the spectators when the glass is placed on the tray. There are classic glass / box switches which could be used, but I've worked out this particular approach because it avoids filling the glass by hand with confetti or making the switch behind the box. Instead, the magician seems to discover a method of filling the glass without getting confetti all over everything. This tray glass vanish is based on a principle explained by magician Brunel White in 'Original Mysteries for Magicians' which he published himself around 1920. It is quite clever in its simplicity, although the timing and presentation must be mastered to make it effective.
CONE FUSION By Richard Robinson The magician displays two empty paper cones inside and out, then suddenly their interiors fill with a large square of silk.
Cone Fusion is is a surprising production that depends on manipulation and stealing the load from the much maligned but rarely used magician's sleeve. In the presentation described one large silk foulard is produced. However the props can be used to produce a dozen or so smaller silks or a large quantity of spring flowers. Props The props involved are two cones made up from stiff paper or flexible card stock, a silk foulard and a gimmick to hold the silk and assist in its it s transfer from the sleeve to a cone. The color of the cones should contrast with the production item. I've made the cones up in green which works with the dragon silk used. It also looks good when producing red spring flowers. The cones pictured measure 7-1/2 inches / 19 cm tall with a top diameter of 4 inches / 10 cm and a bottom diameter of 5-7/8 inches / 15 cm. The immic immick k ictur ictured ed is fine for the lar e foulard foulard.. However However it can can be varie varied d to suit the
A short tube made from ff ih l
The foulard is folded in a zig fashio fas hio the
The folded foulard is loaded into the immick.
A short tube made from gaffers tape with a large, opened out paper clip attached.
The foulard is folded in a zig The folded foulard is loaded zag fashion so the one corner into the gimmick. of the foulard is up and the diagonally opposite corner is down.
The load is inserted into the coat sleeve, the hook end going over the edge of the sleeve.
In performance the cone is momentarily placed on the arm, narrow end nearer the hand and the hook engaged on the cone rim.
In removing the cone from the arm, the load travels with it, unseen inside the cone.
A cone is made up to size to act as a template for the two matching cones. A sheet of light card stock is turned and inserted into the template cone, allowed to expand so it fits snuggly, then pasted and trimmed to the template size. Handling The two nested cones are taken apart, one cone is given focus by raising toward the face and letting the spectators look through it. This cone then goes over the load arm while the other cone is lifted and also shown empty. The load cone is removed from the arm, the cones placed mouth to mouth then turned to horizontal as the load is released. The cones are slowly shaken and moved apart so that the load seems to blossom from the interior of both cones.
There's no need to spend a great deal of time showing the cones empty, although the process shouldn't be rushed as if you're hiding something. Work out the sequence and practice it so you don't have to think about it in performance. Note that there is one move that is potentially clumsy when the hand holding one cone pulls the load cone and load off the other arm. The middle photograph in the second row above where the load is visible shows the handling at this point. The free hand holds the empty cone by the top rim with the second, third and fourth fingers curled against the palm. This leaves the thumb and first finger free to extend and clip the t he load cone and load and pull them off the arm. Performance Notes This production prop has been invented a few times over the years, although always using a single cone. I find that adding the second cone confuses matters sufficiently so there's no indication where the load might have come from. Although credit has been given to various performers, the idea seems to be the work of Brunel White who in the 1920s published 'Original Mysteries for Magicians' which included a rather complicated effect he called 'The Elusive Rabbit And Bouquet.' Part of the effect was the production of a bouquet of flowers which White kept up his sleeve and then loaded into a cone while putting his arm through it to show it empty. White suggests that the gimmick have two hooks: a shorter one to go over the sleeve and a longer one extending above the short one which the fingers can grasp easily. The appearance of the cone can change the look of the effect. It can be made up as a flower pot, a fez with tassel or a lamp shade.
THE VANISHING KNOT By Richard Robinson The magician displays a silk handkerchief, ties a knot in the center of it, places his hand around the knot, gives it a shake, then opens his hand to show the knot is gone.
The Knot
The silk is held The silk is twirled between the hands by over itself two or the diagonal corners. three times. The thread end in the right hand.
The left hand makes a loop, the right hand passes the thread end through the loop to tie the knot.
The thread travels up from the corner it is attached to, through the knot and then down to the floor.
The knot is an ordinary overhand knot, made by looping the silk and passing one end through the loop. The end that is put through the loop is the thread end. In twirling the silk over itself to make it more rope like and thus make the knot more visible do not twirl it more than two or three times. Handling
The left silk hand is opened shakes outthe and heldforward silk by the diagonal and backward, corners. the causing Thethread threadtocorner pull is insilk the thethread right hand. end back through the knot. The left hand opens to show the knot has vanished.
The right silk ishand twirled takes overhold itself of once the silk or by twice. the corner opposite the thread end. The foot releases the thread so it can be lengthened, then steps on it again.
A knot loop is made tied in and the silk. the thread end of the silk put through it to tie a knot.
The silk hangs from the right hand. The The knotted silkleft withhand the
As the left hand travels up to momentarily cover the right knot, The silk is held by the
The left hand moves back down to hand show moves that theover, knot The left
The left hand shakes the silk forward and backward, causing the thread to pull the silk thread end back through the knot. The left hand opens to show the knot has vanished.
The right hand takes hold of the silk by the corner opposite the thread end. The foot releases the thread so it can be lengthened, then steps on it again.
A knot is tied in the silk.
The silk hangs from the As the left hand travels up to The left hand moves back right hand. The left hand momentarily cover the knot, down to show that the knot opens, fingers together and the thread is pulled to untie it. has vanished. starting at the bottom moves up in front of the silk.
As the silk is displayed, the For the third time a knot is foot again releases its tied in the silk. pressure on the thread and the silk raised to gain more thread length before the foot again steps on the thread.
The knotted silk is held by the right hand, higher up and closer to the face than previously.
At a gesture from the magician the silk visibly begins to untie itself.
To control the untying, the silk is raised slightly to maintain the thread tension.
The first finger and thumb hold the top corner of the silk, allowing the second finger which is behind the silk to kick forward and help complete the untying without raising the silk up further.
Presentation There are three phases to the routine. First the knot is tied, the left hand grasps the knot to cover it loosely with the fingers. The hand tilts so the back of the hand is towards the floor. A slight forward and back motion is made, at the same time the thread is pulled and the knot untied, although this action is hidden by the fingers. This first untying is done at waist level, to the left of the body. The silk is knotted again. The top end is held by the right r ight hand which lifts the silk up to mid chest height. The left hand moves up, fingers together and extended out. As the left hand moves up the silk it covers the knot momentarily and the knot is pulled out by the t he thread. The left hand moving up and the knot untying should occur simultaneously, then the left hand should move back down. Done properly this will hide the entire movement of the silk corner up, through the knot and back down. The silk is knotted a third time, the top end taken by the right hand which raises up to head height. This time the silk animates and visibly unties itself. In each of these phases, the foot holding the thread down raises so the thread can be pulled up. Thus the thread is shortest for the first untie, longer for the second and longest for the third. The Trailing Line Working with a trailing line is easier than t han it might seem. There is no need to look at the floor, since wherever the thread end of the silk is pointing is the location of the thread as it touches the floor. Once you've stepped on the thread at the start of the t he routine, you can pretty much stay in position, just releasing additional lengths of thread as needed. It is also possible to anchor the line. This should be done as close to the t he floor as possible, for instance at the bottom of a magic table. If you choose an anchored line, avoid adjusting the thread length by moving directly towards the audience, since you'll have to back up for each unknotting, which is the direct opposite of how the effect should build theatrically. Instead move cross stage, moving stage right of the table.
Performance Notes Suitable dialog should be worked out as this plays much better as an amusing talking trick. In his 'Encyclopedia Of Silk Magic,' Harold Rice credits Al Baker with the thread method of untying a handkerchief and Albenice with the reel method. However credit should go to Sidney Josolyne who in the the t he early 1920s published 'The Handkerchief That Unties Itself.' Josolyne tied the far end of the thread to a vest button, then used a magic wand in the other hand to pass down behind the knotted silk, the wand striking and pushing down the thread to effect the unknotting.
COIN SPACE By Richard Robinson
Props
The gaffed side of the sheet. Left: the two load pockets are pasted along their edges and positioned on the sheet. Note the black strokes above and below the center hole which indicate the edge of each pocket that is not pasted. Right: the first coin to be produced is loaded into the t he top pocket. The third coin is loaded into the bottom pocket and slid into the closed area of that pocket, the second coin to be produced is then loaded into the pocket. A specially prepared square of paper is used. Although the square supplied here carries fanciful designs, the paper could as easily be made of newspaper or a page from a glossy magazine. The paper must be made up neatly so that the gaffing does not show. There are two pockets attached to one side of the paper. These pockets match the design of the paper and are not visible from a short distance. The edges of the pockets are located exactly at the points where the paper is creased to be folded into a packet before being introduced and then unfolded for use. One pocket is one third the width and height of the t he square. It is pasted at the top center above the hole. In pasting it to the paper, only three t hree sides are attached, the bottom side nearest the hole is not attached. The other pocket is two-thirds the width of the paper and one-third the height. It is attached to the bottom left of the t he square and extends two-thirds of the way across the paper. It is pasted to the square along its left, right and bottom edges. The top edge is pasted for half its width to the square. This leaves an opening that is one-third the width of the square open directly below the hole in the center of the square. Three thin, silver dollar size coins are used. One is loaded into the top pocket. The other two are introduced into the bottom pocket. The first to go into the bottom pocket is slid to the left by tilting the square, then t hen the second is introduced.
Folding The Square The square must be folded properly before use. Place it on a flat surface with the pockets side up, the double pocket to your left. Fold and crease the left third of the square down and under the rest of the square. Fold and crease the right third up and over the rest of the square. You should now have a square folded to one-third of its width, the top layer is the former right third, the center is the center third with the hole, the bottom layer is the t he former left third. Now fold and crease the top third of this strip str ip down and under. Finally fold and crease the bottom third down and under. You now have a folded packet of paper. With the coins in place, they will be hidden and secure. Setup Insert one coin into the top pocket, two coins side by side into the bottom pocket. Fold the paper into a packet. Handling
After In producing coins are theloaded, secondthe coin, paper the fingers is folded remain intothrough a packet ready the hole forand performance. the paper is turned to show the coin at the finger tips, then the coin is pulled out of the hole.
Unfolding The paperthe is turned paper causing in the proper the thirdmanner coin toso slide thatacross when the pocket paper isuntil open it is the single load is at the positioned under top, the the double load opening, then at turned the bottom. again so the load is ready to drop.
The final fingers coin move is produced. into the hole until the view through the hole is blocked by the hand.
The hold on the top center of
Work the coin to the tips of
The paper square is turned
In producing the second coin, the fingers remain through the hole and the paper is turned to show the coin at the finger tips, then the coin is pulled out of the hole.
The paper is turned causing The final coin is produced. the third coin to slide across the pocket until it is positioned under the opening, then turned again so the load is ready to drop.
The Coin Space Routine Introduce the folded packet. The two folded over sections should be at the front, the center section at the back with the point of the arrow-like design toward t oward the floor. Swing open the left and right folds of the t he packet. The right fingers are inserted under the first fold, the right thumb t humb on the outside top of the square. The right thumb is resting on the pocket holding the two coins. The left thumb is inserted into the fold f old from the top and rests on the top pocket holding the single coin. The left fingers are at the back of the square. Open out the packet into a square by lowering the right hand. The audience is now being shown the pocket-side of the square. The left thumb in front and left fingers in back are keeping the top coin from sliding down out of its pocket. Release the right hand hold on the square. Turn the square around front to back to front to back by manipulating the left fingers and thumb. This display of both sides of the square is done casually. But when you stop, the pocket side is away from the audience, the left thumb at the back of the square, the left fingers at the front. Producing The First Coin Move the square to your left, away from your body. Reach over with your right hand, right fingers together. Insert the right fingers into the hole. The right palm is up. Once the bulk of the right hand is blocking the hole, release the pressure of the left thumb and fingers on the coin in the pocket and let it drop on to the right fingers. When the right fingers are holding the coin, draw the right r ight hand slowly out of the hole, turning the hand back and forth at the wrist as you display the coin at the finger tips. Producing The Second Coin It is now necessary to turn the square upside down. Take hold of the square at the bottom center with the right hand, thumb in front, fingers behind. Release hold of the square with the left hand. Swing the right hand to the t he right, turning the right wrist down so that t hat the top of the square is now at the bottom. With the square to the right of the body, with the right fingers and thumb revolve the square to back to front twice to show both sides. Stop when the pocket and the right r ight thumb are toward you at the back of the square.
Move the square across the body to the left, taking hold of the square with the left thumb at the back, left fingers in front holding the coin in the pocket. The right hand is shown empty as it again moves across the body to the left and the fingers enter the hole in the paper. Again the coin is allowed to drop onto the right fingers by relaxing the hold of the left fingers. f ingers. This time however, when the coin is in the right fingers, f ingers, rotate the square to the right toward the body so that the second coin is seen at the right fingertips while they t hey are still through the hole. The Third Production The left fingers are still holding the square at the top center. The right hand takes hold of the lower right hand corner of the square, thumb behind, fingers in front. f ront. The right fingers now pivot the square up so that the former bottom is now the right side of the square. The end result of this is that the t he left fingers are holding the top left of the square, the right fingers are holding the top right. More important, the pocket with the remaining coin is now along the left edge of the square. The coin will now slide down the length of the pocket and be ready for production. Release the hold with the left fingers. Let the weight of the coin cause the square to pivot down and to the left in the right r ight fingers so that the pocket is now at the bottom of the square. The left hand comes under the bottom of the square, the left thumb behind, the left fingers in front. They press against the coin in the pocket. The right hand releases its hold on the t he square. Pivot the left hand to the right so that the pocket is now at the top of the t he square. Show the square front and back by turning the left hand. Finally reach over with the right hand, insert the fingers through the hole and withdraw the third coin from that other dimension. Performance Notes This is a very pretty effect for a formal close up or parlor setting. Making the effect up out of newspaper, even seeming to tear a square out of a newspaper and then tearing the hole in the center, would certainly heighten the mystery, as would tearing up the paper when the effect was done as if the paper was of no consequence to the magic. Download The Coin Space Construction Kit 323 kb Adobe Acrobat PDF
WAND MAGIC By Richard Robinson Most magicians know the two effects described below, but most dismiss them as trivial and of the won't fool anyone variety. In fact, used in combination at the beginning of another effect in which a magic wand is required, these effects appear quite mysterious. The audience sees the magician pick up a magic wand. The magician rubs r ubs the wand lightly on his fingertips.
Prop A magic wand, from 15 to 18 inches / 38 to 45 cm in length, so that it visibly extends from both ends of the hand. Wands 12 inch / 30 cm in length are often sold by magic dealers, the result of wood dowels arriving from the lumber yard in 3 foot lengths. For platform and stage work these short wands are not in human proportion. Handling & Routine
Thethe As wand hand is rotates picked up thefrom first the table, finger of the thehand magician holding faces downstage, the wrist is straightened but turns theout left shoulder and is now upstage behindas thethe hand moves are holding the worked. wand.
The hand wand holding is placed the across wand theopened, is finger tips theof fingers the hand. Pretend yet spread, to rub thethe wand wand along thesuspended. remains finger tips as The if generating wand should some be far sort enough of magical so forward power. that it is seen between the spread fingers.
The arm is raised Performer's view of and the first extended, finger tip pressing the wand the wand magically against theclinging open hand. to the fingerthe Note tips. finger tip is in line with the second finger of the open hand and the tip of the first finger only touches half the diameter of the wand.
The hand is turned palm With of remaining the hand at down,the theback wand still towards the audience, the finger tips. close the fingers over the wand. As you rotate the hand holding the wand towards the audience, the index finger slides around behind the wrist, unseen by the audience.
The tips of the index and little finger rest on the wand Remove hand the fingers Slowly open the fingers while the the index andfrom middle push against the so wrist. the wand restsofonholding the open opposite surface. Once you learn t he knack the the palm. wand at your fingertips like this, lightly with minimum pressure, you can turn your hand in any direction.
With your free hand remove the wand from your finger
Close the fingers of your hand so that you are
With your free hand, take hold of wand hand wrist.
As the hand rotates the first finger of the hand holding the wrist is straightened out and is now behind the hand holding the wand.
The hand holding the wand is opened, the fingers spread, yet the wand remains suspended. The wand should be far enough forward so that it is seen between the spread fingers.
Performer's view of the first finger tip pressing the wand against the open hand. Note the finger tip is in line with the second finger of the open hand and the tip of the first finger only touches half the diameter of the wand.
With the back of the hand still towards the audience, close the fingers over the wand. As you rotate the hand holding the wand towards the audience, the index finger slides around behind the wrist, unseen by the audience.
Remove the hand from the wrist.
Slowly open the fingers so the wand rests on the open palm.
Performance Notes I first started using these two classic dodges as an introduction to the Supreme Magic version of Eddie Joseph's rising wand. Worked properly, with attention paid to the movement of the index finger during the hand rotation and ensuring the wand is visible between the spread fingers, it plays surprisingly well. Magicians think of the magic wand as the magic wand when when in fact the audience thinks of it as the magic wand. wand. If you understand the difference, you can create the illusion of the magician using a magic wand to cause magical things to happen.
PRESTO CHANGE-O By Richard Robinson
Prop Construction
Red strokes: the container is divided in half or diagonally if relatively long objects are to be switched. Blue strokes indicate the position and orientation of the labels. The change canister pictured is made from f rom two identical cardboard food containers with flexible plastic snap lids. Each container is cut in half, the cardboard bottom pasted back in place on the shortened tube and then the two shortened containers pasted together t ogether bottom to bottom. It can as easily be made from two cardboard coffee cups or a heavy paper or cardboard tube with a divider inserted midway between top and bottom. I've chosen the food containers because they have a rolled lip at their mouth so the flexible lid snaps on and off. The finished container measures 5-7/16 inches / 13.8 cm tall with an interior diameter of 23/4 inches / 7 cm and an exterior lip diameter of 3 inches / 7.6 cm.
Clockwise from left: Two identical containers cut in half, the top sections of each pasted bottom to bottom. The resulting container is open at both ends with a divider at its middle. The container is covered with a band of heavy paper in a solid color or patterned design. A label or design element is placed 1 inch / 25 mm down from the top of the container at the front. A duplicate label or design element is placed upside down in the same position on the back of the container. The container is now decorated with a design or label that visually suggests one end is the top the other end the bottom. In fact, the front side of the container has the design oriented up, the back side of the container has the same design oriented down. Printing templates at the bottom of the page offer several choices for the design. Setup The object that will be taken out of the t he container after the switch is put in one end of the container, the cap put on, and the container placed on a table the that end down. Next to the canister is the object that will be put into it to start. Handling
The second left handsilk takes is loaded hold of The lid right is hand placed picks on the up into canister the the bottom andofthe thefirst silk top the of canister the canister. from the table. canister. is tucked into it. The mouth of the canister can be tilted
The left back hand of the moves canister down is the initially blocked canister towardsby the the bottom right as fingers the lid issopressed the canister on. can be handled freely.
The left hand takes hold of The lid is placed on the the canister and the first silk top of the canister. is tucked into it. The mouth of the canister can be tilted slightly towards the spectators.
The left hand moves down the canister towards the bottom as the lid is pressed on.
The right hand moves under the canister to take hold of the bottom. In the picture the left hand is pulled away to show this, in performance it stays in place to block the view.
The right arm swings back, upstage towards the table top, in that action turning the canister over.
The right hand places the canister down on the table top. In the picture, the left hand is pulled away to show the action, in performance it stays in front of the body to block.
What the spectators see. The body turns upstage and the right arm is blocked as it swings towards the table.
As soon as the canister touches the table, the performer takes a step upstage towards the table and moves left.
The right hand moves down to the middle of the canister and slides it a few inches before releasing it. At this point the performer is standing to one side of the table.
The canister is opened and the second silk removed from it at the end of the routine. Routine A dye tube or other hand gimmick for doing a silk handkerchief color change is in the jacket pocket. Display the two silks. silks. Tuck one into the pocket, so part of it is still visible. Put the other silk in the canister and place the canister on the table. Retrieve the t he silk from the pocket, finger palming the gimmick at the same time. Color change the silk. Place the silk back in the pocket and dispose of the gimmick, leaving a portion of the silk visible. Go back to the table, pick up the canister and remove the second silk. Performance Notes Magicians tend to either disregard props that have been labeled utility gimmicks or else rely on them too much. The change canister, the mirror glass, the change bag and similar props are best used as part of a larger effect eff ect so they take their proper place as apparently incidental to the magic the magician is making. Download The Presto Change-o Print Templates 1.3 mb Adobe Acrobat PDF
COINCIDENCED By Richard Robinson The magician's helper arrives holding a tray on which are five envelopes and five ESP cards. The magician picks up a large slate, apparently writes something on it, but leans it
Red strokes are 2 inch / 5.1 cm high walls of tray. Yellow strokes are 3/4 inch / 19 mm high support runners on the left and right inside walls of the tray on which the false bottom slides slide s back back and forth. Wood rain recta rectan n le is the false botto bottom. m.
Left, the false bottom pulled back, exposing a section of the tray bottom. Right, the false bottom pushed in to hide the actual bottom. The tray has a false bottom resting on supports along the inside left and right r ight sides of the tray walls. This false bottom is a fraction fr action smaller than the dimensions of the tray interior. The tray in the photographs measures 15 inches / 38 cm side to side by 10 inches / 25 cm front to back. The tray is 2 inches / 5.1 cm deep. The supports on which the false bottom rests are 3/4 inches / 19 mm high. The back wall of the tray is attached to the false bottom. The false bottom can be pulled back to so that the actual bottom of the tray is visible. In operation the false bottom is pulled back only a few inches. The assistant, holding the tray on each side, blocks this pulled back section with his or her arms. In the action of walking towards the spectators the assistant moves the arms back and steps forward simultaneously pushing the false bottom into the tray with his or her midsection. Setup On top of the false bottom are five f ive duplicate esp cards each sealed in an envelope with five empty envelopes and five different esp cards lying on top of them. Handling
The sealed two sections envelope of the is tray. Left, the false dropped back bottom. onto theRight, tray, the tray proper. actually into the opening in front of the false bottom.
Thethe As symbols performer and holding envelopes. the Five moves tray sealed forward envelopes to take it containing into the audience, identicalthe symbols, arms five open move back envelopes, slightly asfive the different body walks symbols. into the tray pushing the false bottom forward to cover the opening.
The tray setup is on presented the tray.to False the bottom pulled spectator for the back, selection symbols of andenvelope an open envelopes at random. on top of sealed envelopes.
The sealed envelope is dropped back onto the tray, actually into the opening in front of the false bottom.
As the performer holding the The tray is presented to the tray moves forward to take it spectator for the selection of into the audience, the arms an envelope at random. move back slightly as the body walks into the tray pushing the false bottom forward to cover the opening.
Performance The assistant arrives with the tray. The prediction is written on the slate. Pick up each esp card, displaying the symbol and commenting on it. Seal the card in an envelope and drop the envelope on to the actual tray bottom. Repeat this with the remaining r emaining four cards and envelopes. Send the assistant off to the front row, the assistant bringing the tray towards t owards the body in moving forward and thus pushing in the false bottom so it covers the actually bottom entirely. A Word About Sealing Envelopes There are few things less attractive on stage than a magician's tongue licking an envelope. Please use either self-sealing envelopes or apply the temporary adhesives available from stationers to make an ordinary envelope self-sealing. Advanced Construction I've described the tray in its simplest form. A second set of runners can be added above the false bottom so that it is held in place. These runners should be the height of the tray from the top of the false bottom to the t he top edge of the tray so they are not apparent. The only issue with this is that the false bottom must be of rigid material so that it does not bind as it is pushed in. The height of the space under the false bottom can be decreased so long as it not so shallow that the envelopes in it will obstruct the false bottom as it is pushed forward. Keep in mind however that the spectator choosing an envelope from those on the tray is not likely to be concerned with the construction of the tray during the few moments it is in front of him. Performance Notes Obviously this is meant to be a stage trick where the distance from the spectators and their viewing angle make the use and working of the tray quite easy. For those working closer up, it would be possible to place the tray on a table and work the whole thing yourself, but the elegance of the effect will certainly be diminished. On figuring out this switch tray I initially had a magic builder make it out of chromed sheet metal with a handle on each side. This proved to be heavy and bulky. I then rebuilt it from thin model aircraft plywood and eventually from stiff cardboard as seen in the photographs.
THE PREDICTION KIT By Richard Robinson "Would you believe that what is about to happen already has?" the magician asks a spectator. "The reason I can say that with confidence is because I went to the mind reading store today and bought a prediction kit." The magician takes out an envelope with a question mark drawn on it and places the envelope on the table. "They also gave me a paper bag with three sponge balls in it." The magician picks up a small bag, tilts it forward and takes t akes hold of the three sponge balls that fall out of it. it . "One red, one green, one yellow."
"Now I don't want you to think of any particular color," says the magician, picking up the three balls and dropping them back into the bag. He gives the bag a shake. "I want you to
The spectator does so, reading aloud "Yellow is the color you'll pick," as he opens his hand to reveal it holds a yellow ball. The Prediction Kit is is based on a force that was originally done using a change bag. I've eliminated that in favor of some simple handling and added the prediction kit to confuse matters. Props The props are three yellow sponge balls, one red and one green sponge ball, a red marking pen, a green piece of paper, a small paper bag and a white envelope. Other color combinations can be used as long as the pen and paper each match a sponge ball in color. The paper bag is slightly wider that two sponge balls next to each other. This is important to make the handling easier. In the photographs 2 inch / 5 cm diameter sponge balls are used. Setup Drop two yellow sponge balls into the bag so they rest on the bottom of the bag. Then drop in a yellow, red and green sponge ball. Using the red pen write a suitable prediction naming the yellow ball on the green slip of paper. Note that in writing my prediction I don't mention the ball, just the color. Place the green slip and the pen into the envelope. The writing side of the green slip should face the front of the envelope so the writing is not exposed when the envelope is held back up and pulled open. Routine & Handling
The bag setup, two yellow balls at the bottom, red, yellow and green balls on top of them.
Holding the bottom of the bag with a slight pressure holds back the two bottom yellow balls as the bag is tipped and a red, yellow and green ball roll out.
The fingers and thumb pressing on the bottom sides of the bag hold the two balls back.
Downstage view of the magician holding the bag, with two balls held back.
Interior view of the bag, which contains only three yellow balls. The bag is held out towards the spectator, opening Pick up thethe three balls of the just frombag thekept table, theabove yellow eye level as the spectator ball at tip of the thumb t humb and reaches into the bag, first finger, the red and
Once a ball has been taken, the two balls compressed in the hand are released to fall into the bag, then the bag is tilted forward, twothree yellow Upstage view the of the balls the green balls held beingback, put back in the and red balls rolling out bag. The yellow ball is into the waitingthe hand. released, red and green
Spectators' view of the magician holding the bag. Only a slight pressure is needed.
Spectators' view of the magician holding the bag. Only a slight pressure is needed.
Pick up the three balls from the table, the yellow ball at tip of the thumb t humb and first finger, the red and green ball behind it on the palm.
Upstage view of the three balls being put back in the bag. The yellow ball is released, the red and green ball are compressed and held back in the hand.
Downstage view of the magician holding the bag, with two balls held back.
Interior view of the bag, which contains only three yellow balls. The bag is held out towards the spectator, the opening of the bag kept just above eye level as the spectator reaches into the bag, selects a ball and removes it.
Once a ball has been taken, the two balls compressed in the hand are released to fall into the bag, then the bag is tilted forward, the two yellow balls held back, the green and red balls rolling out into the waiting hand.
The bag is placed on the table and the envelope picked up and opened.
The red pen is removed. r emoved.
The envelope is tilted forward and pulled open so it is seen to contain only a green piece of paper.
The paper is handed to the spectator, writing side kept upstage.
The spectator turns the paper over to read the message, opening the other hand to reveal the chosen sponge ball.
Performance Notes While most mentalists hesitate to replace brow furrowing with a lighter approach to mana man a in the im oss ossibl ible e tho those se who und unders erstan tand d how how well well men mental tal tric tricks ks work work in the the cour course se
of a normal magic show can get some mileage out of this. The handling is fairly easy and there isn't much to think about in terms t erms of the mechanics once what happens when is worked out. The only issue is keeping the bag upstage enough so the spectators are unable to look down into it. Avoid the urge to crumple up the bag. Personally I think this will telegraph that the bag is not empty. Instead, when the effect is finished, drop the visible balls, the t he pen and the envelope into the bag and put it aside.
This is my original handling of a tried and true classic utilizing the Grandmother's Necklace principle. All other handlings had to be set up prior to the performance. Some even used a thread hook up. In this version, the illusion of two strands of rope running through a solid block of wood (but actually the centers of said strands are secretly looped/folded into each other) is perfect. And, it's done openly in front of the audience with no secret devices or prior preperation. The newness of the handling make it a decided novelty. The magician threads two lengths of rope through the hole in a large wood block. He asks a spectator to take two of the rope ends and tie them over the block and hold the tied block between his hands. The magician takes hold of the ropes on either side of the block, moves his hands slightly and the ropes penetrate through the block, leaving the t he spectator holding the freed block. The ropes and block can be examined.
The block is a piece of wood 3-3/4 inches / 9.5 cm square with 1 inch / 2.5 cm diameter hole running through its center. The block must be heavy enough to remain on the table during the process of tying and working the penetration. Two ropes are also needed, each rope about 4 feet / 1.2 meters long. Hold the two ropes together at the center, the strands str ands running parallel so they aren't twisted.
Let the two ropes hang at the center over the right first finger. The left hand moves in below the first finger and takes hold of the two strands of the front rope. The left hand moves up which rotates the center of the rope it holds around the first finger, until the left hand is above the right hand, this leaves the back rope hanging down from the first finger at its center and the front rope going around the first finger at its center and then up into the left hand.
The right thumb moves down onto the the loop of the back rope and slides it forward to the tip of the first finger f inger and presses it down. The first finger is pulled back causing the center of the back rope to fold over the center of the top rope. The first and second finger mask the join from the front, the t he thumb presses against the join from behind.
The bottom two ends hanging from the right hand are threaded through the hole in the block until they come out the opposite hole.
The left hand pulls the strands out of the far hole, the right hand travels with the rope until the join (the secretly looped ropes) are pulled into the hole and are no longer visible.
You can ask a spectator to choose either of the rope strands on either side as the two t wo you will take and tie on top of the block. It doesn't matter which left and right strand str and are taken and tied.
When you take hold of the double strands on either side and pull them to penetrate the block, tug on only the bottom left and right ropes r opes as you move your hands apart. If you pull on both ends on both sides it will hang up the ropes and the penetration will not be as smooth.
ERASURE By Richard Robinson The magician takes a pencil out of his pocket and asks a spectator to loan him a coin. He draws an X on the coin then closes his hand around the coin. He explains that he will now erase the mark simply by waving the eraser end of the pencil over his closed hand. The waves the pencil and puts it on the table, telling the spectator the mark is now gone. He opens his hand to show the spectator. Not only is the mark gone, but so is the coin. Obviously the magician erased a little too much. Erasure is is quite startling and unlike many impromptu coin vanishes both hands are shown empty to finish. Props & Setup A borrowed coin and a pencil. The magician must be wearing a coat or jacket with long sleeves. The pencil is in a pocket. The Vanish An ingenious method of sleeving removes the coin from view. The coin is sleeved in the action of placing the pencil down on the table. The hand holding the finger palmed coin and pencil moves towards the table and stops short to drop the pencil. This forward motion and abrupt stop causes the coin to fly up the sleeve. It also completely covers the sleeving action. Learning how to do this requires practice in coordinating the moves involved. To start it can be worked in two steps, the hand moving forward and dropping the pencil, then pulling back to shoot the coin up the sleeve. Eventually the two moves should be combined into one so the magician appears to just toss the pencil onto the table. Handling
The coin is displayed on the fingers of the open hand. The other hand is opened.
The coin hand is turned over to drop the coin into the waiting hand.
The fingers close around the coin.
The coin is actually held back, finger palmed in the hand.
The finger palm hand picks up The coin is worked so it rests on the the pencil. tips of the fingers.
The pencil is waved over the closed hand supposedly holding the coin.
The hand moves forward to place the pencil on the table ...
The coin resting on the fingers which are curled up and in line with the opening of the sleeve.
The hand supposedly holding the coin is opened to show the coin is gone, the sleeving hand is turned palm up simultaneously but less dramatically.
... and then back, the coin is sleeved during this action.
Presentation The pencil is taken out and dropped on the table. A coin is borrowed. The pencil is picked up and an X marked on the coin. The pencil is placed back on the table. The coin, held in one hand is apparently dropped into the other hand, the fingers closing around the coin. In fact the coin is held back in a finger palm. The hand secretly holding the coin picks up the pencil. The eraser end of the pencil is waved over the closed hand. The performer's focus is on the closed hand as the pencil is dropped back on the table and the coin is sleeved. The fingers of the closed hand open slowly to show the mark and the coin are gone. Switch Variation This sleeving method can be used to t o switch any sleeveable object for another. The second object is finger palmed in one hand and brought into the view as the other hand holds back the original object in pretending to transfer it to that hand. With a great deal of practice and a piece of heavy card stock it could be used as a billet switch. Performance Notes While most magicians are familiar with the principle of sleeving, it is not widely used because of the amount of practice and presentational choreography involved to get away with it. By covering the sleeving action with a second action, putting the pencil down on the table, a good deal of the danger involved in sleeving is avoided. The only description I've found of this technique is a brief mention by Jean Hugard that a palmed object could be sleeved in stage work by tossing a wand onto the table. I suspect it was known by stage magicians of the late 19th and early 20th centuries but for some reason never made the jump to close up applications.
A SINGLE-HANDED 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 since the invention of the sleeve, 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
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 The coin falls down behind the extended hand should line hand, at which point the up with the falling coin. spectators no longer see the coin.
The hand apparently closes around the coin, catching it.
The performer turns back towards the spectators, the closed fist turning palm up.
The hand is then turned palm down.
The upstage view of the coin traveling down behind the hand and falling 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.
The hand is opened to show the coin has vanished.
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 While this vanish is difficult to do in terms of timing and learning how to position the arm to ensure the coin goes into the sleeve, it creates a perfect illusion. 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. If a coin is borrowed to work the t he effect, after the vanish reach into the coat pocket and remove several coins, picking out a coin of the same value to return to the t he spectator. The action of lowering the arm to go into the pocket will let the coin to drop into a finger palm so the coin returned is the same that was borrowed.
