Tuck boxes & close-up padsWhat is your advice about the tuck box / card case?The card case is not only a natural protector of the deck, but can also serve as a prop for tricks. Prepare the case so that the deck can be removed from it without unnecessary fumbling. A well-prepared case looks better, and as an adjunct to the performance is one of many details that serve to support the performer‘s image, whether he or she cultivates an elegant or informal style.
Opening the case and removing the deck can even be treated as a tiny ritual, a theatrical vignette for the audience. One might think that removing the cards from the card case is such a trivial handling that no explanation is necessary. Nothing could be further from the truth, as even in this phase of the performance, when apparently nothing is happening, signals are being transmitted to the observant spectator that reflect on the performer‘s competence and virtuosity.
I also recommend using a card clip for each performance deck and when you travel. There are many wonderful products on the market nowadays, and you will be spoilt for choice.How do you recommend opening and preparing a new deck for use?Most cases are shrink wrapped in cellophane. My preference is to remove the cellophane completely and throw it away. But you can also leave the cellophane on the case, removing only the upper portion, which can be separated from the lower portion by a not always user-friendly tear ribbon. This allows you to insert one or more cards between the case and the cellophane, either in front or in back of the case.
Remove the remnants of the seal that project above the semicircular cut in the front of the case. The seal remnants can be stuck to the discarded cellophane and both may then be disposed of, magically or otherwise. If these remnants are not removed, then the top card of the deck may stick to them once the flap of the card case is opened. The card expert will know how to use this to his advantage…
The flap of a card case consists of several parts, defined by three creases. Reinforce these creases by running your thumbnail along them several times. The third crease is particularly important. Many experts now favor the removal of the side tabs, either by tearing them off cleanly or cutting them off with scissors; they serve no useful purpose and can hinder and delay the replacement of the deck in the card case.Is there any advantage to using a close-up pad of some kind?When you perform card magic, you should be able to do certain tricks on any surface. Whether you have a special pad or mat, a padded or unpadded table cloth, or the bare table, as a magician you should not be dependent on the surface. Nevertheless, in practice sessions and in most performances - certainly in formal performances - you should arrange for every possible advantage. In addition to warm, well-cared-for hands and a new deck, a proper pad to perform on belongs in your arsenal.
Use as large a pad as possible, since this permits larger motions. The smallest pad you should consider is sixteen inches by twenty. A pad smaller than this will produce cramped handlings and prevent clear and attractive displays when cards are set out. Small pads are only practical to carry on trains and airplanes, or to practice on small tables, but don’t even think of using them to perform.
The underside of the pad should be made of slip-proof rubber, the topside of velvet or velvet-like material. Avoid felt, which becomes fuzzy, gets under your fingernails and soon leaves the top looking used. Between the top and bottom layers of the pad there can be an interface of sponge rubber to provide necessary softness, in technical parlance called "give". Some experts swear by very soft pads, though I personally prefer a somewhat firmer surface.
As for color: green is considered a calming and neutral color, which is why many surfaces made for card playing are green. I prefer a pure, dark blue, since I generally work with red cards. Black is also good when using red cards, and can look striking with silver coins, cups and other pretty props as well. A deep, dark red or elegant mustard yellow is also viable. The color is surely a question of taste, but you should avoid bright colors, which irritate the spectators‘ eyes.HandsWhat should we consider in terms of our hands when handling playing cards?German philosopher Karl Jaspers once remarked, "The hand is the extension of the mind", and Andreas Tenzer maintained, "The hand is the extended arm of the heart." To this I would add that the instrument, in our case a deck of cards, is the extension of the hand. To stay with this analogy: mind, heart and hand are the “artistic trinity”, which through the use of an instrument can create amazing experiences for a small or large group of people, if led by a skilled and inspired individual.
Together with the cards as your instrument, your hands are the most important tools that actually determine the success of the magic you are going to perform. And any work of art is generally only as good as the tools employed to create it. In any case, you can only expect the best results if you care for them properly. The coordination between your thoughts and the movement of your hands is also extremely important. How important is size of your hands and your skin type?People with all types of skin can, of course, perform magic. But there are certain techniques that are easier for those having somewhat drier skin, whereas others are facilitated by a somewhat moister skin. The specific anatomy of your hands will make some techniques easier for you, while others will test your patience. Obviously, huge hands and long fingers better cover most sleight-of-hand. But such an attribute can also have its disadvantages.
Once you know your hand and skin type, you will take note of this relationship and patiently spend more time on some techniques than on others; and you will naturally be happy when some techniques prove easy for you. From my own experience and the result of polling many experts throughout the world, I can assure you that you can learn every technique, independent of the kind of hand and skin you have, providing you motivate yourself to devote sufficient practice to it, which - as stated earlier - can vary from hand to hand. In the worst case you can console yourself with the knowledge that every technique may be replaced by another technique, or a principle, or a subtlety or ruse.
The anatomy of your hand will change very little during your lifetime - unless you are reading this as a child. However, several factors, such as age, environment, climate and stress, are responsible for a change in skin types. From birth to my mid-twenties, I had very moist hands. Around age twenty-six, my skin got drier. This can also be measured in terms of one's use of decks: I used to need three to four decks each week. Now I need only that many a month.Do you have any advice about hand care?Your hands will be on constant display during performance. Can you risk having them not look their best? Pay attention to your hands, for they represent your greatest investment in the art of performing magic with cards. Well-groomed hands will give you the same feeling of well being as wearing a freshly laundered and pressed shirt.
Your hands will quickly become soiled as you practice. The dust all around us will stick to the sweat and oils of your hand to make them dirty. Soiled hands in turn shorten the lifetime of your deck, even with plastic coated cards, which otherwise last a long time. Before practicing and, of course, before every performance, wash your hands with a mild soap. I personally use an alkali-free pH7 liquid soap. Such neutral soap removes dirt without harming the natural oils of the hands. This keeps the hands from drying out after washing, and leaves you with practically the same feeling in your fingers after washing as before, so that your practice session can continue unimpeded. Try different soaps and, when you find the one that is best for you, stick with it. If you have very moist hands, you can find dehydrating creams in drug-stores that will keep your hands dry. This can be a great help during practice and performance. I used them for years when I was young and had naturally moist hands.
If you have normal or somewhat dry hands, I recommend that you apply a cream after each washing. Use a formula that is quickly absorbed and non-greasy - your cards will thank you. You can skip the cream after the practice-session washings. Office supply stores sell so-called fingertip moisteners used for instance by bank tellers to count paper money. "Sortkwik" is one such product, which is common in the USA, but you can find similar products in every country. Dai Vernon and other experts used a hand lotion called "Chamberlain's Golden Touch Lotion"; it is still available and you can find it over the internet. Both these products are applied just before performing, and with a little ingenuity you can make their use even part of your presentation.
The appropriate length of your fingernails is partly a matter of taste, but short nails facilitate the execution of most techniques and generally look better. Nail biting is absolutely taboo; break the habit, even if it means visiting a therapist. Pay just as much attention to your cuticles. My advice: Go at least once to a professional manicurist, paying close attention to the procedure and getting professional advice on the proper care of your nails. Then buy a good pair of nail shears, a cuticle remover and a good cream, compatible with your skin type.Card handling techniquesDoes it really matter how you do basic things like dealing or spreading cards?Dealing cards would seem to be so elementary a topic, you may wonder why it is necessary to discuss it at all. But once again there is a right way and a wrong way to do things. Initially, either would serve the purpose equally well, but for advanced techniques precise positions of the fingers are critical.
The same is true with spreading cards. This technique will be used often with the cards either face up or face down. Once again we are analyzing a procedure with which you may feel you are already completely familiar, for who has not spread the deck between the hands when picking out cards? But pay attention to the positions of the fingers and the manner in which cards are pushed from hand to hand. This technique is the foundation on which sleight of hand will also be built.I already know how to shuffle a deck. Do I really need to re-learn how to do this?There are different ways to shuffle a deck of cards, including in the hands, or on the table, and in the air. Even though you may think you already know how to do these moves, and indeed have probably been shuffling cards for a long time, you should learn methods to professionally do it. These methods are elegant because they are efficient and economical. However, they also use precise fingering, which will become important when you want to learn more advanced sleights based on these grips, such as jog- and break-shuffles.
It is important that you learn to do these moves properly, even if this means unlearning some handling habits. At the beginning some of the new "ways" will feel strange, but within a few days you will feel at ease with them and recognize how well they allow you to control the cards; control is what shuffling is about. Piano virtuoso Arthur Rubinstein in his autobiography states: "Virtuosity is when the artist controls his instrument, and not vice-versa."How important is the overhand shuffle, and its technique?Overhand shuffling is a basic tool of card conjuring. More likely than not, most of you will already have mastered a version of the overhand shuffle. But even if you have been performing the overhand shuffle since you first learned to play cards, you will soon recognize that the proper method employs a technique that feels somewhat different. The grip will probably seem a bit unconventional, and you may wonder why this retraining is necessary, since your present overhand shuffle technique is more than adequate to mix the cards.
However, as soon as we get to the first actual techniques using the overhand shuffle, such as control of top and bottom stocks or the control of selected cards, you will realize that the "family style shuffle" is totally inadequate for a precise and secure execution of such sleights. The basic method I teach is a prerequisite for successful execution of all subsequent overhand shuffle techniques. Of particular importance are the positions of the forefinger and the little finger of the left hand, as well as the way the cards are shuffled off. With a little patience and perseverance the proper technique will open a door to a big room you probably didn’t know even existed; it is the room to artistic and expert card handling. Please believe me if I say that it is worth mastering.How important is the riffle shuffle, and its technique?The riffle shuffle is the shuffle preferred at gambling tables. This is primarily because it was once thought that the riffle shuffle made cheating more difficult. Today there is more literature devoted to various riffle shuffle techniques than to any other shuffle. Anything you can do with an overhand shuffle can be done with a riffle shuffle, and much more besides.
Although most card players know and use the riffle shuffle today, many people still find it fascinating when it is neatly performed, perhaps partly because of its association with gambling and its lore. You should therefore include in your performances tricks using the riffle shuffle, and become familiar with the basic riffle shuffle techniques. Don’t neglect to master these basics from the outset, as they will be the foundation for more advanced techniques you will encounter later.
Also learn how to square after shuffling. The method first recommended in print in 1902 by the mysterious card sharp S. W. Erdnase is a particularly efficient and elegant method of doing so. The Waterfall Riffle Shuffle is also a technique to learn, and is not only impressive to spectators, but is also very useful when no table is available.Card flourishesShould magicians perform card flourishes?Flourishes are essentially overt techniques in the service of showmanship. The "card tricks" of stage manipulators often consist largely of flourishes, such as one- and two-handed fans, springing and cascading the cards, tossing a ribbon of cards into the air and catching it again, throwing and catching individual cards like boomerangs. There are also flourish effects, such as the bare-handed production of single cards or even fans of cards, the diminishing and expanding of cards, etc. Flourishes showcase the performer’s skill, whether at the table or on the stage. The goal is not to mystify by performing something inexplicable, but to handle the cards in an unusual, yet aesthetically pleasing manner. They also create psychological and dramatic accents in the course of a routine.
Many competent performers have expressed their opinions on the use of flourishes, resulting in three basic schools of thought on the subject:
1. At one extreme are those who maintain that the performer should handle the cards clumsily, so that the subsequent trick appears as miraculous as possible. With no apparent skill involved, it can only have been accomplished by magic.
2. At the other extreme are those who believe this is nonsense and that the performer should appear as skillful as possible, dazzling the spectators with displays of manipulative bravura.
3. Between these two extremes lies a third school, which follows the philosophy of naturalness championed by Dai Vernon, universally and respectfully known as the "Professor". This school teaches that the cards should be handled so as not to arouse suspicion. Above all, they should be handled neatly and nonchalantly, with the ease and casualness that defines the true master. Doesn't one expect a violin virtuoso to hold the violin securely and guide the bow precisely, with complete ease and confidence?
A discretely introduced flourish, such as the dribbling of the cards after the return of a selection to the deck, helps to underscore the fairness of the procedure. An unusual way of turning a face-down card face up to reveal the chosen card can strengthen the effect. Using an elegantly made fan to display the cards as all different imbues the handling with an aesthetic quality. Even relatively easy flourishes such as a ribbon spread and turnover on the table give the impression of above-average dexterity and - properly applied - can make an effect considerably more memorable and impressive for an audience. Introduce them into your performances with care and intelligence, and they will contribute disproportionately to your success.What simple card flourishes should beginners learn?● Dribbling cards is a technique that has numerous uses. Among them are: as a flourish, as a method for having a card chosen and replaced, as a demonstration of the performer’s lack of control over the cards, as a way to prepare for a palm, by affording a reason to briefly hold the deck with two hands, and much more.
● The Ribbon Spread is a flourish, but also a utility move that serves many purposes, such as having cards selected and replaced, showing that all cards are different and mixed, glimpsing a card at a certain position, and a large etcetera. You will be astonished at the incredibly strong impact this gesture with the cards has on laymen. Somehow the technique appears much more difficult than it is. Knowing it has such an impact, use it sparingly, acknowledging that you are accomplishing something extraordinary.
● The Riffle is a little flourish that should be used sparingly and deliberately. I emphasize this here because the riffle can become a nervous tic, subconsciously repeated without realizing that it annoys the spectators. In such circumstances it communicates an impression of clumsiness. Yet, if introduced judiciously, it can underscore dramatic moments, providing an artistic highlight.
●The Swivel Cut is the creation of the American vaudeville legend, Nate Leipzig. It is a two-handed flourish that has many possible applications to trick techniques.
● The Charlier Cut can be used as a one-handed pass - that is, a secret cut not intended to be seen by the spectators - but can also be used as a visible flourish, and even as a gag. It is the invention of the nineteenth century enigma, Charlier.
● Different methods of turning over the top card are suited for turning over a previously selected card at the climax of a trick, or simply to show the spectators a card that will be used subsequently.Final thoughtsIn closing, how would you describe the importance of playing cards for card magic?Without doubt, playing cards are the most fascinating instrument employed in the art of magic. No less a performer than Hofzinser designated card conjuring the "poetry" of magic. Cards have produced a palette of sciences, from their symbolism of humanity to their numerical properties and all the mathematical possibilities embodied therein. They serve at play and strategy, for fortune-telling and occult practices, and as a vehicle for social communication. They permit an expression of skill and intelligence.
Everything is brought together in card conjuring, for there is no effect, no emotion, that can’t be expressed with a deck of cards. They are a microcosm reflecting the "human condition", to use Rousseau’s expression, mirroring the fate and reality of mankind. Card tricks unite the principles of nature (natural material), of art (creativity, interpretations, self expression, talent), of science (psychological and mathematical principles) and of spirituality (symbolism, personal growth, therapy).Is there anything else you'd like to share about magic, or about playing cards?I’m amused when I read or hear that, “Card tricks are boring,” or, “Women don’t like card tricks.” This is like saying a piano concert is boring, or women don’t like piano music. Playing cards are merely an instrument, and yes, preforming with them can be boring, if used by an uninspired, boring performer. I cannot count the times where I did not do card tricks in a performance, and spectators begged, "Can you also do a card trick, please?"
Clearly, most card tricks are connectional, rather than purely visual. It is therefore of utmost importance to choose good pieces (there are many bad magic tricks, not just card tricks), understand them thoroughly, practice them assiduously, and then perform them capably by appealing to the spectator’s logos (intelligence) and pathos (emotion), and do it with ethos (sincerity and competence); otherwise no success can be expected. That requires a bit of talent, much passion, and a lot of work. As the saying goes, "You can’t have something for nothing, and there is always a price to pay, even death costs your life."Are there any questions that you'd love to answer and that you wish I had asked?Yes, this one. Thank you, EndersGame, and all of you who have read this far!Essential Roberto Giobbi ResourcesFree/inexpensive resources teaching basic card handlingIf you are interested in learning more about card magic, you can't go wrong by choosing Mr Giobbi as your teacher, and checking out some of his books or videos. I wish that when I began my journey into card magic many years ago, instead of focusing on learning some tricks, I'd started by learning the fundamentals of card magic, and proper card handling. The best advice a budding magician can receive is to start with the fundamental techniques. You'll get far more enjoyment out of your card magic, and progress far more quickly by first learning the proper and basic techniques of card handling, including shuffling a deck, and controlling cards. Once you acquire skills like these, a large world will open up for you.
And these aren't just skills that are important for magicians, but for anyone who enjoys playing cards. Practically all of us are doing overhand shuffles, riffle shuffles, or cutting a deck. But are you doing it elegantly, efficiently, and artistically? Among other things, Roberto Giobbi will teach you how to do this properly. I had to unlearn a few bad habits and poor techniques in the process, but I'm ever so glad that I've now mastered these things properly with the help of his books and videos. And believe me, learning from him is much better than heading to youtube, where teachers are many, but artists are few. Unfortunately there are many tutorial videos that rely on a mediocre ability in card handling. And if these are your go-to teachers you'll learn bad habits, inferior techniques, and in the long run it won't hold you in good stead.
So where can you start? I'd suggest two resources, both of which Mr Giobbi has made available for free or a nominal cost, as part of his love for the art of magic, and his genuine desire to help new magicians and new card handlers get off on the right foot:
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Video:
Fundamental TechniquesNB:
This is Lesson 1 from Giobbi's video course "Card College 1 & 2 - Personal Instruction: The Complete Course"Giobbi has an entire course that teaches the fundamentals of card magic, entitled
Card College 1 & 2: The Complete Course (€4.95 for
individual lessons, or a discounted €49.95 for all 23 lessons). But he's made the first lesson free, and it covers the following topics: Basic Grips, Squaring, Various Cuts, Spreading & Outjogging Cards, Dribbling, Various Deals, Various Break Handlings, Step, Ribbon Spread, Preparing the Card Case. It's more than half an hour long, and has excellent content that is just as relevant for anyone who owns a deck of playing cards, as it is for magicians.
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E-Book:
Introduction to Card MagicNB:
This 150 page PDF includes some reworked material from Giobbi's outstanding book [i]Card College 1[/i]
Giobbi was once asked to make an introductory course for newcomers to card magic. As part of that he created this e-book in 2012, which features 150 pages of extensive instruction about the basics. Some of the answers above have been taken from this book (and appear here with his permission). Readers will welcome the fact that this e-book doesn't just teach some basic magic sleights, but most of its material is dedicated to teaching general card handling techniques. That makes it just as useful for anyone who handles a deck of cards! Besides teaching 6 fun card tricks that are basically self-working, the book has chapters about the history of playing cards, instruction about basic shuffles and cuts, and some simple flourishes like the ribbon spread, swivel cut, and charlier cut. It also covers ways to elegantly turn over the top card, deal cards, square a deck, and much more. Besides being well-illustrated with accompanying photographs and examples, perhaps the best part about the e-book is that it contains links to youtube videos throughout. So as you're reading, you can click on a link, and get directed straight to a short video clip that illustrates the move or shuffle that you're learning. This is brilliant! Much of the material overlaps with the first lesson of the video course, and these work very well together.
An earlier version of this e-book sold for €9.95, but Giobbi has just revised it, and has made the updated and improved 2019 version available for just €6.95 via his website, in order to promote the art of card magic and to help budding magicians. So there is only a minimal cost to download it, although there is a "Donate" link on page 154 which you can use to give Giobbi a further donation of appreciation if you wish.
In my opinion, this video and this book are a must-watch and a must-read for anyone who owns a deck of playing cards. Certainly if you're a collector of playing cards or if you enjoy playing card games, you will almost certainly find it very useful and interesting. And of course that will be all the more so if you have any interest whatsoever in card magic. But I can't emphasize enough that the material in these resources is relevant to anyone who uses a deck of cards, and only part of it is magic-specific.
Other resources teaching card magicIf you have a real interest in card magic and want to learn more, here are my top recommendations for you.
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Video:
Card College 1 & 2: The Complete CourseYou can't do much better than working your way through this course. It was originally created as a set of 4 DVDs, with a run time of almost 8 hours, and is now available from Roberto's website as a digital download. The 23 lessons all cover different topics, and will teach you all the basics of card magic. In addition, it also teaches a large number of tricks, with almost every lesson including one or two tricks that put the techniques learned into practice. You can buy the lessons individually for €4.95, but there's a real saving by just buying all 23 lessons as a single package for €49.95; most people will find this excellent value given the amount and the quality of the content included.
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Books:
Card College Light Trilogy and
Card College 1-5Giobbi has authored a series of three books entitled
Card College Light, Lighter, and
Lightest. These books each contain around 20 card tricks that require no sleight of hand, and are effectively "self-working". These are not the boring mathematical atrocities you may have learned from your grandfather, but are strong tricks that are easy to learn, and have a powerful impact. In fact, they're high calibre tricks that are among the best you'll find anywhere. Giobbi also teaches you what to say, and how to present them, to help generate the best result.
If you are ready for more advanced material, and want to take a more serious course in intermediate and advanced card magic, then try the five volume
Card College set, which is considered to be the gold standard textbook in card magic, as evidenced by the fact that it's available in English, German, French, Italian, Spanish, and even Japanese. Giobbi has also produced a new series of DVDs that can be used as a companion to the books or as an independent learning tool, and which covers much of the advanced material from the three last volumes in this series.
ConclusionOne of Roberto Giobbi's real strengths is the scholarly approach that he brings to his magic. Besides providing explanations in a very well-organized, clear, and logical manner, it's quickly obvious that he is not only articulate but also a real "thinker", who has a real love for the art of magic. Many young magicians are drawn to the flashiness of the latest and greatest magic effects that can be purchased. But Roberto is interested in understanding what makes magic elegant, and what you need to do with a deck of cards so that everything you say and do produces a convincing presentation that entertains and amazes.
When reading or watching his work, much can be learned from his insightful explanations and perspectives, which cover giving attention to the smallest details of presentation, as well as important lessons about the construction of magic. Experienced magicians will realize that learning the right techniques is only a part of magic, and that for magic to be strong, it needs careful construction, presentation, and showmanship. These are the kinds of things that you will learn from Roberto Giobbi. He has a passion for the art of magic, a deep respect for his sources and for his students, and has a real gift for analyzing and explaining the small nuances that are essential for the performance of strong magic, and for preserving magic as an elegant and artistic art-form.
Mr Giobbi's contribution to beautiful card magic can't be underestimated, given the wonderful resources he has produced to help newcomers learn the fundamentals of card handling and card magic. And we are fortunate that he is making his instruction about our first steps into the world of card handling available to us for free or at a nominal cost. Most of us are blessed to be able to own playing cards of the highest quality. All that remains is for us to learn to use them elegantly and artistically. And with Mr Giobbi holding our hand, we are almost certainly going to improve our skills, and enjoy our playing cards even more than ever before!
Where to learn more? Check out Roberto Giobbi's resources here:
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Official:
Website and
Webshop-
Starting resources: Lesson 1: Fundamental Techniques (free video),
Introduction to Card Magic (€6.95 e-book)
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Books: Card College Light Trilogy,
Card College 1-5-
Videos: Card College 1 & 2: The Complete Course,
Card Magic MasterclassAuthor's note: I first published this article at PlayingCardDecks.com here.