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Thought I'd try this as it really seems to amaze my daughter when I make things "vanish" and reappear, and she likes the look of my sponges!

I've not "really" got the Finger Palm down (told you I was new to all of this ) but it's passable. Also I like to practice by learning a couple of effects at a time then putting them together in a practice routine (if that makes sense)

So...I'm struggling when it comes to lifting two balls and showing them as one.

I have looked in Mr Wilsons book, and I see what he's getting at but every time I pick them up it looks forced, so I relax it then looks like I'm holding two balls which is not the desired effect! If practice is all I'm missing then great I can sort that...just thought there maybe a nugget of info I'm missing

Thanks in advance.

lmw.

Mods: Sorry if any of this is the dreaded "e" word! feel free to amend if it is!

The best advice with spongeballs is remember they're compressible. And also remember that once you've introduced them (I like to hand one out to a speccy and say 'Aren't they lovely' or somesuch twaddle), and the spectators know that you're handling regular spongy balls, you can KEEP THEM MOVING. The movements blur out discrepancies.

It's very easy to fall into the trap of making hard work for yourself with even the smallest of moves or sleights. Sponge work can be some of the most simplistic and yet spellbinding stuff... just make sure you're not trying to knock in drawing pins with a sledgehammer!

Hm I dont know much about sponge balls.


As Seige says keep them moving, sponge work is alot more easy then coin work. Try using coin vansihies you know but with the sponges. Two balls as one so you dont see a join, its the same thing use as much finger coverage as you can and also keep them moving. Think of the balls being light and move them fast.

Agreed. But, at the same time, you don't want to move them too fast as that will draw attention. Naturalness of motion becomes important.

Also, as Siege is pointing out, you normally have more than just the one, so keep attention on the single while acting casual with the double. If you give them something to draw their attention, then their attention will not be on the double that you don't want their attention on (does that make sense?).

Direction and misdirection become the key.

Mike.

Michael Jay wrote:Agreed. But, at the same time, you don't want to move them too fast as that will draw attention. Naturalness of motion becomes important.

Also, as Siege is pointing out, you normally have more than just the one, so keep attention on the single while acting casual with the double. If you give them something to draw their attention, then their attention will not be on the double that you don't want their attention on (does that make sense?).

Absolutely, having done some more work with the sponges I think I was making too big of a deal out of this...i.e. either flailing my hands about like a lunatic or panicking that specs would see...forgetting they look at what I tell them to, if I am doing a good job and they're being co-operative...if you see what I mean...

Michael Jay wrote:Direction and misdirection become the key.

Mike.

As a novice this is the thing I am struggling to practice, however...my wife hasn't become bored yet so I get to practice in front of her, and she deliberately "helps" me by not complying to the misdirection where others possibly would, help for the real world when I start performing for joe public me thinks! And there's the thing I think the best way of learning misdirection and direction of an audience is to perform!

Thanks for the replies.

lmw.