Graham: Your card handling is the talk of all who see it. What references would you suggest the student study to enable them to develop elegant card handling?

Michael Vincent: Great posting Graham.

If I am to be honest with you, my style and handling of cards is a hybrid of styles. This has come about from watching some of the greatest exponents of sleight of hand card magic.

The first person to really impress me with the way they handled cards was Larry Jennings. There was never any tell tale sign of stress in his handling. Michael Skinner, Ricky Jay, Darwin Ortiz and Rene Lavand are also magicians who’s handling of cards I found to be very stylish and elegant.

I don't think there is any book published which addresses the concept of style. I think Darwin mentions style in his book Strong Magic. In the final analysis, I believe we learn by watching others and then refining and adapting. Keep watching the magicians you personally admire and pay careful attention to the way you "naturally" handle cards. Sooner or later you'll notice that you will develop the habit of doing certain things in a certain way; this will be the beginning of your style.

One more thing: Remember to practice your drills every day. By drills I mean your Shuffling, Cutting, Dealing, Spreading, Squaring the deck neatly, Flourishes etc.

All of these techniques will help you to develop your "touch".

Graham: Much appreciated Michael. Many thanks my friend.

Mike: I'm not much of a card man, but I've got to say that the idea of "practicing your drills every day," is one of the most obvious, but most overlooked, pieces of advice that could be given. I don't think that this should be discounted in the least and is of utmost importance if anyone is going to become smooth with a deck. If you're not handling your cards on a daily basis, your work with them will not be as elegant as it should be and this is something that I personally do, even though I don't do a great deal with cards.

I've noticed that the policy of card men is one of two theories:

1) Be sloppy about it so that when you do an effect it appears more magical

or

2) Be elegant because anybody who wants to see a sloppy card worker can just ask their neighbor to show them a trick.

While, as stated, I don't do much with cards, I still want to look my best when I'm handling them and not like some clod with two left hands.

Mr. Vincent, I will assume that you feel that theory #2 above is the proper way to handle cards, which is exactly the advice given by Harry Lorayne. I also appreciate your pointing out specific card men to follow when looking for proper card handling techniques. Would it be possible for you to get a bit more in depth with your advice on looking good with a deck of cards, even if your repertoire with a deck is limited?

Michael Vincent: Your point in the last two paragraphs are right on the money. I said this before and it is worth repeating. LAY PEOPLE AREN'T STUPID. They know that we posses a certain level of ability. How much ability will be done to the quality of the performance. To insult them with sloppy handling in my opinion is to rob them of the opportunity to experience card artistry in way they could not have imagined.

Don't get me wrong. It takes a lot of thought and attention to detail to handle cards in a less then elegant manner; Juan Tamariz comes to mind. In fact his style fits his character, wouldn't you agree?

In order to develop your touch be aware of the following things when practicing your drills.

1. Be sure you understand what the Mechanics Grip is. The Erdnase Grip and Marlo's Master Grip. Each of this hand positions for the deck each achieve a very specific result.

2. The Mechanics Grip is used by the majority of card workers so keep in mind that when you are dealing cards as for a game situation, make sure only one card is dealt of at any given time. Focus on keep the rest of the deck square.

3. When executing Ribbon Spread make sure you can feel each and every card with the tip of the forefinger.

4. When cutting the deck into packets on the table, try and achieve neatness and precision with each block of cards. Start each cut by riffling down with the left thumb.

5. Buddy Guy the Blues Guitarist said, "If you want to be a great Guitarist, try and have the Guitar in your hands at least 24 hours a day".

I think this concept works very well for card magic.

John McDonald: The faro shuffle.

I have been practicing this for several months now and keep getting close to getting a perfect faro. However, I always find that I get a few cards that "double" sometimes near the end, sometimes in the middle. Have you any suggestions?

Michael Vincent: I execute the faro as Harry Lorayne describes in Close-up Card Magic, from the top down. Make sure the ends of the deck are perfectly square prior to going into the shuffle.

Once the weave has started, "RELAX" the pressure of the "BUTT"......but keep the inward pressure going but not to much.

This is a "knack" which you will feel. I am sure you can sense this John. The amount of pressure both inward and downward is the key to a perfect weave.  Hope this helps.

Goonerjack: I currently own the first three volumes of Card College and after going through the inevitable feeling of excitement at all of the new material, I would like to truly 'master' these sleights. I would like to start right from the beginning, Card College 1, until I feel that I really have learnt and can almost flawlessly perform everything there is.

Do you think that this is a worthwhile 'plan' and what do you think would be the best strategy to achieve my goal? Also, I am young, would this serve me well when I am older? Finally, for example, is it worthwhile to learn a 'simple' force from CC1, whereas a more deceptive and convincing yet more technically demanding force is taught later in the series?

I know that it won't happen overnight but I definitely feel that I have the commitment, devotement and passion for magic to put in the hours, but how do you suggest going about this?

I would like as many people as possible to respond please, although I put this in the guest speaker forum as I would love to have the views of Mr. Vincent on this subject.

Michael Vincent: Dear Jack

Your plan for mastering the sleights in Card College is very ambitious and at the same time admirable. You may find CC1 a little intimidating if this is your first venture in to sleight of hand with cards.

As much as I enjoy the CC series, I feel they may defeat rather than inspire someone who is just starting out. A better approach would be to study the Royal Road to Card Magic "FIRST".

This book is an absolute classic for many reasons. The structure of the book is such that you are taught the fundamental techniques and a few applications of them.

The fundamental sleights for great card magic are as follows.

1. General handling of Cards- Basic drills as outline in a previous post.

2. Controlling a Card-The Pass, The Crimp etc

3. The Double Lift

4. The Palm

5. The Top Change

6. The Force

7. The False Shuffle.

These sleight are essential learning before anything else.

The CC series build on the Royal Road in a progressive and systematic manner.

You will be wasting a lot of time if you don't master these essential sleights first; and when I say master, I mean with the correct technique and audience attention control.

Good Luck.

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