Cards in Magic & Mentalism: page 73

The Annotated MINT series continues. Thanks to Ed Marlo and Wesley James, MINT III, IV, V, VI, and Annotated MINT 1963 through 1967 are already available. The release of this volume, Annotated MINT 1968, takes yet another step toward the availability of the entire run of Marlo In New Tops material with Wesley's extensive annotations, and his Supplemental and Bonus additions. The material that fills this volume is both unique and exceptional. The volume includes 10 Marlo articles. It also includes 12 of Wesley's effects/routines, plus numerous added touches, and extensive Notes, as well as corrections...

The Annotated M.I.N.T. series grows. Thanks to Ed Marlo and Wesley James, M.I.N.T III, IV, V, VI, and Annotated M.I.N.T. 1963 through 1966 are already available. The release of this volume takes another major step toward the availability of the entire run of Marlo In New Tops material with Wesley's extensive annotations, supplemental, and Bonus material. The content of this volume is notable for the range it explores. It includes eleven articles, Ed missing only in April. Three of Ed's contributions are of special note. One is pivotal to the development of Bottom Deal techniques, another is the basis...

The Annotated M.I.N.T. series continues. Thanks to Ed Marlo and Wesley James, M.I.N.T III, IV, V, VI, and Annotated M.I.N.T. 1963 - 1965 are already available. The release of this volume takes yet another step toward the availability of the entire run of Marlo In New Tops material with Wesley's extensive annotations, supplemental and Bonus material. The content of this volume is exceptional in its importance. The volume includes only seven articles but three of them are of special note and one was ground breaking when it was released and remains pivotal today, more than 50 years later. This...

The Annotated M.I.N.T. series continues. Thanks to Ed Marlo and Wesley James, M.I.N.T III, IV, V, VI, and Annotated M.I.N.T. 1963 and 1964 are already available. The release of this volume takes another step toward the availability of the entire run of Marlo In New Tops material with Wesley's extensive annotations, and his supplemental and bonus material. The material in this volume is truly extraordinary. This volume includes 11 Marlo articles plus 25 Wesley James contributions. Two of Ed's finest New Tops contributions - the "Olram Subtlety" and "Marlo's Aces" - appeared in 1965. Additionally, "A...

Thanks to Wesley James, M.I.N.T III, IV, V, VI, and M.I.N.T. 1963 Annotated are already available. The move toward the availability of the entire run of Marlo In New Tops material with Wesley's extensive annotations and supplemental Bonus material is well underway. The material in this volume is extraordinary. This volume includes 13 articles - something for almost everyone - with themes: Seven months are focused on technique. Two of the techniques were truly ground breaking. Both ATFUS and FUFU were revolutionary. Marlo also extends his exploration of the powerful and intriguing Incomplete Faro. One technique that...

After releasing M.I.N.T III, IV, V, and VI, Wesley has set about to complete the full run of Marlo In New Tops material with extensive annotations and supplemental bonus material. This is the first installment of the years from 1963 through 1979. 1964 - 68 are already well underway. Beyond the eight major articles in this, the first year of Marlo’s material in New Tops, there are innovative and ground-breaking plots, sleights, and subtleties, that have been largely unavailable since the run of the New Tops ended, notwithstanding the flat text of L & L’s MINT I and MINT II. If those books had been...

In this rare manuscript, the fertile mind of "Hen" Fetsch - with some editorial help from California publisher Lloyd E. Jones - reveals several of his favorite effects, betchas, tips and gags with miniature cards.

"Hen" also tips the way he prepares himself to be able to perform these effects at a moment's notice -- even with a borrowed deck. No difficult sleights are required. All moves and setup are well-explained and illustrated.

CONTENTS:

• Introduction
• Simplicity Force
• Stick with Me, Kid
• Last Chance, Brother
• Simplicity False Cut
• Direct Approach
• My Favorite Trick
• Stung Stab ...

A highly visual coincidence effect with an unexpected, jaw-dropping finale!

The performer introduces a packet of eight half-jumbo playing cards and a small envelope to two spectators.

First, he shuffles the cards by dealing them into two piles and placing one pile on top of the other. He repeats the process as many times as spectator 1 wishes. He then forms two smaller piles and hands the remaining cards to spectator 1. Spectator 1 places this remainder on top of either pile, thereby eliminating it, and looks at the card on top of the other pile. The same procedure is repeated with spectator...

A hands-off card prediction at any number.

"No other method can achieve what your method achieves." - Dan Harlan

"To be honest, I would have more than one method to achieve the same effect, but - and this is a big BUT - Ali doesn't use any of them! So, it is indeed very clean and very fooling." - Jan Forster

The deck of cards is in the spectator's hands. At no point do you touch the cards. You ask the spectator to think of any number between...

This is Roger Crosthwaite's method of working the Classic Force and Contrapuntal Switch.

1st edition 1982, 1st digital edition 2016, 7 pages.

Part II from Al Mann Zodiac Series. You will find here several card techniques and a special card trick: how to deal five Aces to any seat at the poker table with a shuffled and cut deck. From the introduction, by Al Mann: I have been told by magicians who should know, that Poker demonstrations and Mentalism should not mix. I disagree with the above 100%... I have seen the amazed look in the eyes of a person when the Mentalist reads his mind... And I have also seen the terrible look in the eyes of the spectator after the miracle man deals five aces (4 aces and the joker), to any seat at the...

Two semi-automatic ACAANs.

In the main effect, the spectator mentally moves an imagined card into the deck in an imagined position only. All this happens without the mentalist touching the cards and without knowing which card and what number the spectator has thought of.

In the second ACAAN, the spectator generates a random card and number then counts to the generated position and will find the card. All this happens without the mentalist ever touching the cards.

The two effects are very easy to perform and do not require any sleight-of-hand.

1st edition 2021, PDF 8 pages.

The performer places a blue deck and a red deck on the table. The blue deck is given to the spectator to hold for the entire performance. The assisstant is invited to select any card from the red deck (without looking at it). Next, the playing card is inserted face-down in the face-up deck. Neither the performer nor the spectator knows the identity of the card.

The magician then invites the spectator to open the blue deck which was given to him at the beginning of the effect and instructs him to spread the cards face-up on the table. When the cards are spread face-up, it is seen that there...

Another handling to use the Biddle action as a force.

runtime: 1min 5s

A compilation of five impossible to find card magic manuscripts of the 1920s and 1930s from the self-styled Gambling Detective. These manuscripts originally cost the equivalent of $120 when first released. Now, in this compilation, they are available for less than the price of a fast food lunch.

You get Mickey's Favorite four Ace Routine: The four Aces are placed face up on the table, then three indifferent cards are placed on the top of each ace. After one pile is shown to actually contain an ace and three indifferent cards, the four cards are shown again, back and front, and the ace has...

This is an idea by Mike Maxwell to slightly alter the Double Ace Production to be in the Jennings Revelation setup, from The Classic Magic of Larry Jennings, after the first four cards are revealed.

runtime: 1min 58s

Twenty-five card tricks some of which use the extremely versatile Gilbreath principle.

1st edition, 2000.

TWO'S COMPANY: You remove the four Kings from the deck, then have two spectators each select a card. Both selections are lost into the deck. You now offer the audience a choice of Kings, the red ones or the black ones. They might opt for the red Kings. You pick these up and turn them over whereupon the first spectator's selection appears reversed between them. You place this sandwich on the table then pick up the two black Kings, which you place face up on top of the deck and give...

Find any card a spectator takes from a borrowed and shuffled pack.

EFFECT: The magician tells his audience he has trained his mind to work like a computer. To demonstrate its computer-like capabilities, he asks a spectator to shuffle a pack of cards then, without looking at it, remove one card and place it in his pocket. Taking back the pack, the performer runs through it quickly, then goes through it again even more quickly and pulls out one card which he places face down on the table. The spectator removes his card from his pocket and places it face-up alongside the magician's card, then...

The performer either goes amongst the audience or invites six people on the stage. From a pack of playing cards, six cards are dealt to each of the six people. They are requested to select one card and to place same in their inside pocket. The remaining cards are gathered and thoroughly shuffled and the performer does not handle the cards anymore. At no time does the performer know which cards have been selected. A number of boards with cards on them are now exhibited and shown to spectators. They are to say "yes" when they see their own card, and the performer immediately announces correctly...

Paul's highly thought of small print run hardcover book of 2012 now available as an ebook. 154 large pages, packed with information on the subject matter. Mainly focusing on playing cards but there are also chapters on ESP cards, number cards, alphabet cards, design decks etc.

Yes, some effects are fully described but the book is primarily a great reference source with discussion and recommendations of effects within the various categories of mentalism with cards.

Here are a few comments on the book...

"I'd be astonished if you didn't unearth some really terrific effects here that...

A short, to-the-point routine for the mental photography, or nudist, deck that does not require the use of a table. An ideal effect for opening a close-up performance. It requires little skill beyond a few straight cuts of the deck, which means you can focus on the presentation. Full patter is included. Albert Goshman included this effect among his wonders for good reason.

All you will get here is the routine, the patter. You will have to supply your own nudist deck.

1st edition 2019, 4 pages.

This is a completely impromptu ACAAN. The spectator names any number and freely remembers a random card. In the end, the remembered card appears exactly at the named position.

However, I prefer to think of it as a card control system - a method for controlling a merely remembered card to any desired position with no setup whatsoever. Without question, this concept can take your card magic to the next level.

1st edition 2026, video 8:50

This is a fine contained course in mental magic which not just describes a selection of effects, but the underlying principles as well as other aspects, such as 'The importance of showmanship'. You will learn to force cards, to use the key card principle, to mark and to prearrange, to understand the mirror principle, to work with codes and assistants, and a lot more.

Hugard is known for his excellent writing style, which is clear, accurate and engaging.

Paul Fleming wrote:

The spectator cuts the deck as much as he wants. The magician picks up the deck and deals the cards singly from the top. When the spectator stops him, the magician tables the deck and turns away. The spectator remembers the value of one card and the suit of another card where he stopped at. He gathers the cards - he can even cut the deck - before the magician faces him again. Then, the magician asks the spectator to concentrate and makes two assertions, one about the color and one about the value. The spectator tells him if he is right or wrong both times. Whatever the outcome is, the magician...