LECTURE NOTE 201 8

BILL CHEUNG
WWW. MAG ICB I LLC H E U NG.AT
MAG ICBI LLCH EU NG @ GMAI L.COM

AoM
Wild Penetration

Years ago, Hernan Maccagno showed me a wonderÍul coin routine used a coin box in
Milan. He showed 4 coins one by one go through the table within a box, the box is neither
Okito box nor Boston box, there is no cap and bottom of the box, the effect is very visual. I

am very interest this particular box, and here is my routine use this box.

Effect:

Magician shows 4 silver coins and put them into a coin box, instantly 4 coins go through
the table, only empty coin box remains on the table, magician try to do it again, this time,
the coin box through the table, the 4 coins remain on the table, magician try to do the last
time, but this time never works again, all the coins change into Chinese coins.

Material:

4 halÍ dollars, 2 double face half dollars (with one

side black velvet/ one side half dollar) and I will
call this shadow coin. 4 Chinese coins, 3 coin box,
a cup.
The Coin Box: The Box can be filled with 4 half
dollars size coins, and the bottom side of the box
can filled with one half dollar size coin, looks ex-
actly the same like 4 coins in box, this function is
just like Boston box. And if you filled bottom side
with a shadow coin, the box cover the edge of
shadow coin, the shadow coin will be invisible, the
box looks like an empty box.

Below is the links you can get the box:

http://ma gicbillcheu n g.at/product. htm

Preparation/Setup:

On the table: 4 normal halÍ dollars in the box, one cup, and a shadow coin under the cup,
black side face up .
Under the table: a box filled with 4 Chinese coins one side, one shadow coin other side,
and an empty box on my left Lap.

2
Method:

Itoss 4 coins from the box, show the box and let spectator to exam the box, then take the
box back, give the 4 coins for exam, here is the misdirection, when I give the coins for
exam, I secretly cover the shadow coin with the box, the box looks still empty and audi-
ence have already exam it, so nobody care about it, but there is one shadow coin secretly
underneath. I take back all the 4 coins and show the empty cup.

Part 1

I put the coins one by one into the box, and take the full filled box with right hand (Fig1)
show the right side of audience, I pass the box into the left hand finger palm position (Fig2)
to show audience on the left, when I pass the box into my left hand I secretly turn over the
box 180 degree (Fig2), now the box looks the same, but the shadow coin is on the top. The
turnover move is necessary, for make this move invisíbility and reasonable, is to show both
left and right side audience the box, Fig 1 to Fig 3, and the pass move should accompany
with body language, my body from right side audience toward left. I take the box and put it
on the table, leave the 4 coins in left hand finger palm position (Fig 4 and Fig 5), and hold
the cup with left hand.

Fig3

Fig5
Now ready for the first Penetration. Left hand hold the cup go underneath the table, right
hand cover with box, with thumb turn the box 180 degree (Fig 6, Fig 7), and left hand drop
the 4 coins from finger palm into the cup, the sound create a magic moment, then you
move away the right hand show the empty box, this is a visual magic moment, and left
hand toss the 4 coins from cup, at the same moment you lap the shadow coin. Now every-
thing can be examined.

Fig 6 Fig 7
Part 2

The first effect is very strong, if I do one more time, show the coins one by one through the
table, I think the eÍfects will go down, so I will try to create something unexpected.

I show 4 coins and box, put all coins into the box,
hold the box with right hand, and hold the cup with
left hand. Left hand go underneath the table, right
hand put the box on the table, and secretly turn
over the box 180 degree. Left hand put the cup in
between legs, finger palm the box with 4 Chinese
coins/shadow coin( this is for the part 3 effect) from
left lap, pinch the empty box with

thumb and index finger, right hand make a gesture ready for the second Penetration, left
hand drop the empty box into the cup, and hold the cup with left hand (keep finger palm
the box) toss the box from cup(Fig 8), this is a surprise for audience, at the same moment
right hand finger palm the box (Fig 9),with right hand kick off the Íour coins(Fig 8), use the
swing move to drop the box on lap. The 4 half dollar coins remain on the table, left hand
still finger palm the Chinese coins box (fig10).

Fig 9 Fis 10
4
Part 3

I have showed twice penetration, the third effect will be a color change effect.

I put the four dollar coins one by one into the box with right hand, at the meantime, my left
hand drop the finger palmed box filled with Chinese coins and shadow/halÍ dollar coin on
the table behind the cup, so the spectator will not notice this. The box behind the cup
should half dollar side Íaces up Íor later switch. Now with right hand take the full loaded
coin box (dollars inside), show the audience, left hand hold the cup with thumb and index
fÍnger (Fig 1 1), kick the box (dollars inside) with right index finger into the leÍt hand palm
position (Fig 12), left hand palm the box and lift up the cup to show it empty, now the box
on the table under spectatorn s view is the one filled with Chinese coins (Fig 13). Left hand
move underneath the table, right hand turn over and cover the box on the table.

Fig 11 Fig 12 Fis 13

! try to do the last penetration, I just drop the leÍt hand palmed box under the table quietly
and show the empty cup, then I say "it not works, it' s never works with these Chinese
coins"'" remove the right hand show the top coin change into a Chinese coin (Fig 14), and
toss all the coins from the box, show they all change into Chinese coins (Fig 15), then lap
the shadow coin, everything can be examined.

Fig 14 Fig 15
Conclusion

I ttrint< good magic should have three features, first easy to understand, second visual,
third unexpected. Confuse is not magic, audience don' t know why or how it works
might not magic, just like we don' t understand Einstein' s theory oÍ relativity, but this is
not magic, magic should easy to understand for audiences, but can be very complicated
and difficult for magicians. Presentation the magic effects like the user-interÍace, should
be easy and friendly, not complicated to understand, but behind the user-intedace, the
program can be very complicated.
Some magic moment may happen with auditory or tactile, but visual is the most strong
and fast way to attract people' s attention.
Unexpected is surprise, this is most important things in magic, audiences never know
what will happen, if you make one coin through table, then second coin and third and
more, audience will get boring even they don' t know how it works, try to construct all
the effects reasonable and unexpected, this can help create people' s attention and
emotion.

6
 The Ramsay Gylinder
Cylinder and Coins was created by John Ramsay, this legendary effect is complex and
high technical demands. lbecame interested in this effect, when lsaw Luis piedrahita' s
version. I go to work on the effect, try to reduce technical and use diÍferent gimmicks, and
add coin box in the routine.

Effect:
Magician put a cork in an empty tube, and place four coins in a coin box. Four coins dis-
appear from the coin box, and the coin box disappears, then the four coins and box appear
in the empty tube with cork on it. The coins and box disappear from the tube, and reappear
in magician' s hand, leave only the cork in the tube.

Video links
https: //yo utu. be/c_4-9eq FbXo

Material:

5 half dollars, 1 double Íace half dollars (with one side black velveU one side half dollar)
and I will call this shadow coin, coin box (what I used in the Wild Penetration routine), a
Tube/ Cylinder, two pieces of cork.
We don' t use the hollow stack of coins normal used in the Ramsay cylinder routine
Ramsay stack, instead we put one coin on the bottom of the coin box (Fig 16), the box
-
Iooks like full loaded with 4 coins and have a empty hollow in the box (Fig 17), I call this
Box stack, this is perïect for the Ramsay stack routine. To avoid the noise, you can glue
the coin on the bottom of the coin box, when you lap or load it, it will be quiet.

Fi917

7
Preparation/Setup:
Left hand finger palm the box stack (box glued with one coin on the bottom, and a cork un-
derneath it), Coin side face up.A Tube/ Cylinder, a coin box filled with 4 coins and one
shadow coin, a cork on top of the box.

Method:
I show the empty Cylinder with right hand, pass the Cylinder to the left hand show it empty
again, with left hand finger palm the box stack (Fig 18), now mention the little piece of cork,
take advantage of this moment, and load the box stack in the Cylinder. Make the attention
Íocused on the cork, pick the cork up with right hand, toss it into the Cylinder (Fig 1g), right
hand thumb and index finger press and lift the Cylinder with box stack inside, let the cork in
the hollow drop on the table (Fig 20), place the Cylinder on the table, pick up the cork with
left hand, show it then cover the cork with Cylinder. Now the status insÍde the Cylinder: one
cork inside the box stack, one cork on the top of box stack.

Fig 18 Fig 19 Fis 20

Now I will do exactly the same as Part 1 of Wild Penetration to vanish 4 coins.
I toss the 4 coins from coin box, show audience the coin box for exam, then take the box
back, give the 4 coins for exam, here is the misdirection, when I give the coins for exam, I
secretly cover the shadow coin with the box.
Place the Íour coins in the coin box(Fig 21), show it with right hand, pass it to the left hand,
take advantage oÍ this moment, turn over the box 180 degree, show the box and empty
right hand, use right hand place the box on the table and left hand finger palm the 4 coins
secretly(Fig 22).

Fig 21 Fig 22
I
 Show the 4 coins (in fact only one shadow coin on the top) in the box last time, Cover the
box with right hand, with the thumb turn over the box, show the 4 coins disappear, show
the empty right hand, lift the box and use index finger go through the box, take advantage
of this move swing the shadow coin to lap. Use right hand cover the box, and lap it, show
the box is disappears in the air. Now lift the Cylinder with left hand and show the 4 coins in
the box with the cork on the top. Now all the attention is on the coins and cork, left hand
across and covers the right hand, right hand load the box from lap, Ieft hand show the Cyl-
inder is empty pass it to the right hand, pick up the cork on the top show it and place it
back on the top of coins. Show the empty Cylinder again and clearly cover the box stack
with cork on the top.
Now with left hand catch in the air, show the 4 coins reappear and drop them on the table,
with right hand again catch in the air, and show the box reappears. Now I press against the
Cylinder and lift it together with box stack, show the cork underneath the Cylinder and lap
the box stack, then show the empty Cylinder, now everything can be examined.

Conclusion

To make a effect more effective and stronger, sometimes don' t need difficult
technique, but use more than one technique or secrets only for one effect, even if audience
know one technique, they don' t know all the secrets, it' s dÍfficult to figure out how it
really works, lf one efÍect only use one technique, it' s much easy to figure out. This
routine reduce hard technique, but mix many secrets, magician' s secrets mainly 3 part:
Gimmicks(Fakes), sleight of hands technique, and misdirection, this routine use a shadow
coin, duplicate box, box glued with coin, hollow in the box, duplicate corks, lapping tech-
nique, finger palm, loading technique, and very important is every move need misdirection.

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 Any card Rising
Rising card is a classic card magic eÍÍect, but if add some conditions, this effect can be
a miracle. I am very interest this classic effect, and try to create my own version with
many conditions, for Example: the deck can be examined or even borrowed deck, the
case can be examined, the deck can be shuÍfled, and any card can be called, more than
one card can be called, deck can be untouched, a random named card rise from an iso-
lated pack in wine-glass. I perform my rising card effects in many conventions, including
4F and FISM, and I asked many magicians about the history about rising card.
One century ago, there was a Amateur magician live in new York Brooklyn, his name is
Samuel Cox Hooker, he invited about twenty best magicians in 20 century, including
Harry Kellar, Harry Houini"' to his private show, all the magicians in the room were
badly fooled. Hooker's Rising Cards fascinated magicians for over a century. Nobody
who has seen the Hooker Rising Cards performed has ever been able to explain how
such effects can be accomplished. This includes the most notable and most knowledge-
able magÍcians from past and present. How can, from a borrowed and shuffled deck, àny
card called for rise in the fairest possible manner on a stage only a few feet from the
spectators?
I have several Versions of any cards rising, here I will explaín the version I per"formed in
China TV SHOW - Amazing Magicians. This prínciple base on Ariston' s idea, but in
my version, I improved all these dísadvantaged points: 1 . the deck can' t be shuffled 2.
The card case can' t be exarnined 3. No precisely control of the cards, which means
sometimes wrong card rising from the deck.

Effect:

Magician show a new deck of cards, Audience exam the card box, and shuffle the deck,
any spectator name any one or two cards, Audience place the shuffled deck back into
the card case, randomly named cards by the audience mysteriously rose from the pack_

Video links
https://www. youtube.com /watch?v=W65Kmpz7jvM&t=7s

Material:

4x Flipper card case , 1x new deck of cards, 1x thin deck of cards, 1x thump-tip,1x cy-
lindrical magnet, Hole puncher, thin(magnetic) iron foil.

10
 How to make the Gimmicks
Flipper card case: This is a card case looks like a normal bicycle case from both side
(fig23), but one side can be opened and closed, top and bottom are two magnets for fix.
We need to make 4 cases like this (for each 4 suit: spades, heafts, clubs and diamonds).

Fig23 Ftg24 Fig25

New deck oÍ cards: I mix 13 thin cards into 41 normal cards, and place them in new deck
order from Acer to Kings, it looks like a brand new full deck oÍ cards, but it' s a little
thinner than a normal deck of cards.
Thin deck of cards: I separate the 52 thin cards to 4 piles, each pile is one suit from Acer
to King. For example, here is the suit Hearts, now we have to punch some holes on the
cards (Fig 26), No hole on king, t hole on the queen, 2 holes on jack(left hole should be
overlapping the hole on queen), 3 holes on 10(left 2 holes should be overlapping the holes
on queen and jack) and so on.

11 Fig25
Collect the 13 cards in a pile (Íig 27), the top card should be the Acer of hearts, the bottom
is the king of hearts, all the holes should be overlapping, that means King Position is 12
holes, Queen Position 11 holes and so on.
Below each hole position glued a thin (magnetic) iron foil (for example Position 5 Fig 28),
the foil used for contact with magnet on thumb tip.

Fig 21 Fig 28

Repeat the process, make 4 piles (each pile one suit), and Place each pile in each Flipper
card case. (Fig29)
Thumb Tip with a magnet (Fig29), I glue a cylindrical magnet on the thumb tip , the diame-
ter of the magnet should be a little smaller than holes on the cards, so the magnet can
through the hote and contact the magnetic iron foil below the hole.

Fig 29 Fis 30

How to locate and raise the cardT

For example 5 of hearts: Place the Thumb-tip-magnet through the position 5, Don' t push
the magnet too much towards the deck, if you push the magnet, because of the friction of
cards, it can be the wrong card rise from the deck, this is exactly the problem in Ariston' s
rising card, he used a wood stick on the thumb-tip to raise the card, itn s not precise.
12
lnstead of push the magnet, you should pull the magnet a little towards youself, the little
space separate the block Írom other cards, then move upward(Fig3O), from front view only
the selected card rise from the deck(Fig34).

Preparation/Setup:

When I perÍorm Íor TV or theater, I set up the 4 Flipper card case behind the table, each
case filled with 13 cards (one suit) punched holes. When I perform in standing up salon, I
put the 4 case in 4 different pockets. How to set up the card case depends on the perform
situations.
I put a new deck oÍ cards (mixed with 13 thin cards) and reseal in a new case, this deck is
a little thinner than a normal deck of cards.
Thumb -Tip with a magnet in my pocket.

Method:
I show a new deck of cards, still sealed, Let spectator exam and open it, show 52 cards
from Acer to king in new deck order, and let spectator to exam the empty case and deck, I
take back the empty case, and ask spectator to shufÍle the deck, while spectator shuffle
the deck, I ask other spectator to name any suit from spades, hearts, diamonds and clubs,
for example spectator named Hearts, and I ask other two spectators to name any 2 cards
form Acer to king, Now attention is on the spectators, at this moment I switch the empty
case to Flipper card case filled with 13 cards in hearts. For example spectators named 4 of
heats and 9 of hearls now, I hold the Flipper card case with right hand, and ask the spec-
tator shufÍling the cards, "have you shuffle the deck well enough?" then take the shuffled
deck back, place the one third of the deck into the case, keep the 13 holey cards on top of
the deck, and let spectator to push all the cards into the case (Fig31), at this moment right
hand load the thumb-tip (Fig32),

Fi93l Fig32

With thumb of left hand open the Flipper card case (Fig33), pass
the case from left hand to right hand, use the magnet to locate
the named card corresponding hole position (Fig30), pull the
magnet a little towards yourself then move it upward, the card
block rising from the deck (Fig30), because the cards are very
thín, from front looks like only one card rise from the deck
(Fig34), and the card can also sink back into the deck when you
move the magnet downward, use the same method, I can repeat
rise the (Fig 33) second card.
 Fig34

Clean up

After two cards rose from the deck, I use index finger push the flap(Íig3s), Flipper card
case will be closed, and take all the cards from the deck, spread the deck on the table,
show the empty case and upload the thumb-tip.

14
 Conclusion

Make a card rise from a pack is simple, but how to make a random card rise from a shuf-
fled pack, how to locate afree named card without manipulating the audience shuffled
pack, how to do it multiple times, and the combination is particularíy baffling.

Wt",y I begin with new deck of cards? Because I want audience to feel the deck is a
normal deck, the deck is 52 cards from Acer to Kings. For magicians, I can even borrow a
deck of cards to show the rising card effect. I show an empty case and I say, "l forget my
deck at home, who can borrow me a deck of cards?"| will eliminate about 10 cards from
borrowed deck (use lapping or any method you like), this is to make some space for the
13 thin cards the box. I let audience shuffle the borrowed deck and I ask for a suit, then
I

can switch the card case with same method to show the rising card with borrowed deck.

Time traveler

Effect:

Magician open a brand new deck of cards, one card selected and signed, the signed card
sandwiched in between the two jokers, the signed card visual disappeared and reappear
in other empty hand, then the jokers and signed card disappeared again, relocate in the
sealed brand new deck of cards, locate in the exactly position with signature on it, at the
end, the signature disappeared, the card remain the original face.

Below Video Iinks

https: //www.youtube.com /watch?v=fyuO2TN60AY

Material:
2 new deck of cards, shadow cardlÍace, shadow card/back, 2 gimmicked Jokers

15
 How to make the Gimmicks

You have to make two sets gimmicked Jokers,

First Set (A)l One double back card, one normal Joker, use elastic thread (Fig38) and
needle thread the two cards, spread front side (Fig 36), spread back side (Fig 37), be-
cause of the elastic thread, the two cards can be easy spread and when you release the 2
cards will automatic closed looks like one card.

Fig36 Fig37 Fig38

Second set (B): Double back card, double face card (Joker and in this case 7of clubs,
can be any card), use elastic thread (Fig38) and needle thread the two cards, front side
(Fig39) , back side (Fig a0).

r"

Fis39 Fis40

Shadow card: Two shadow cards, Bacl</shadow card and Face/shadow card (7c), here is
both side of the cards (Figa1-az')

16
 Fig4l Fig42

Below Video links

https: //youtu. be/kKOax-Txf50

Preparation/Setup:

We need to prepare two decks.

DgCk A : n new deck oÍ cards, remove the two jokers, instead place two gimmicked
joker sets, and reseal the deck in a new case.

DeCk B: Place the Back/shadow card in between the 6 oÍ clubs and I oÍ clubs, place
the 7 of clubs on the bottom of the deck (Fig43), all the other cards remain in new deck
order, and reseal the deck in a new case.

e7
.Q le*r t]*t

Fig 43
Place deck A in wine- glass, deck B on lap, Face/shadow card (7c) Íace down covered
under the wine-glass.
17
Method:
I tatk a story about time travel, the journey begin with a brand new deck of cards, and I
take the new deck from the wine-glass, show it still sealed, and let spectator to exam and
open it, I take the deck back and remove the two jokers, leÍt hand hold the empty card
box, right hand spread the 52 cards on the table and explain the new deck order from
Acer to King, the attention now is on the cards, at this moment I switch the empty case to
Deck B (on my lap), and I place the deck B on the table, for the Audience this is a empty
box and not important. I give the deck to spectator to shuffle and exam, I take back the
deck and pass small packet from left hand to the other, ask the spectator to say any
where STOP for select a random card, when he say stop, my right hand liÍt the
wine-glass, and left hand drop the selected card (a random card) on the facelshadow
card (7c).
Now a random card (in this case 10s) on the shadow card (7c), my right hand go to the
pocket to get a marker, at this moment, left hand holds the deck and turns over the se-
lected card on the table (Figa(-as), in fact I turn over both cards on the table, and keep
the random card (10s) on the bottom packet and drop the shadow card (7c) face up on the
table (Figa6). I have forced spectator to selected 7C and this is a shadow card.

Fig 44 Fig 45

Give the marker to spectator to sign the card (7c), point the card with right hand index
finger to show where to sign, hold the card with index finger to avoid spectator to turn over
the card to flash the shadow back of the card. While he signs the card, left hand place the
rest of cards into pocket, and place the empty case (Deck B) into the wine-glass. Now
only the two jokers, signed card and empty case (Deck B inside) in view,

18
 Part 1:Visual Sandwich

Place the signed card face up in-between two Jokers (Jokers Íace down), I say:"you can
see the face of the card, and you can see the back of the card", my left hand hold the Joker
and shadow card (7c) (Fig47), and turn over the two cards, spread the joker and drop the
shadow card on the table, audience can still see the red back oÍ signed card(Fig48), but I
have already switched the signed card, now my left hand turn over the joker again and re-
lease the Joker, right hand spread the duplicaled 7c and put the 3 cards together(Figa9).
This sequence moves looks like I show both side of the signed card, but actually is Íor
switch the signed card. On Fig 47 is signed 7C, on Fig 49 is duplicated 7C.

Fig 47 Fig a8 Fis 49

Left hand hold the 3 cards, audience can still see the 7 of clubs sandwich between Jokers,
but this is the duplicated selected card, the signed card is the shadow card on the table, I
watch the 3 cards and attract audience' s attention on the 3 cards, right hand Tenkai palm
the signed card from table (fig50), left hand release the jokers, let the duplicated 7c slide
back into the joker, at the same time right hand produce the signed 7 of clubs (fig51), the
vanish and appearance happened at same time, this visual sandwich effect is done.

Fig 50 Fig 51

19
Part 2: Time back

Place the signed card on top of the 2 jokers, lap the jokers, now ready for vanish the
signed card, I will not simply drop the shadow card on the table, if bad light audience will
easy figure out there is shadow card, even audience can' t see the carà, but if you drop it
on the table, it vanishes, the only solution is the card is black. I will mix some sleight of
hand technique and misdirection to vanish the shadow card. I hold the card with right hand,
pass it to left hand (fig52), but Tenkai palm the card (fig53), both hands liÍt up, no* is
the
misdirection, when both hands upward move, audience attention will upward, at the same
time drop the shadow card on the table (Fig54), the shadow card drop will be not noticed,
still pretend to hold the card in my left hand (fig54), make a magic gesture, the card vanish-
es in the thin air. Because the card vanishes in the air, it' s difficuli for audience to figure
out where is the card now, it may be in sleeve, on lap or in topic, but it' s on the table now.

Fig 52 Fig 53 Fig 5a

Now drive audience' s attention to the deck in wine-glass, show it' s a brand new deck of
cards still sealed in the wine-glass, open the card box, spread the cards face up, show all
the cards in new deck order, between 6c and 8c there is one card face down, drop the card
on the shadow card(signed 7c) on the table (fig55), turn over the double shadow cards
(Fig56), pick up the 7c show the signature on it, and drop the deck cover the shadow
card
on the table. With this double shadow cards Principe, you can do signed card travel to
any-
where, you just place the bacl</shadow card wherever you want, for example walÍet.

Fig 55 Fig 56

20
 Part 3: Last kicker

Now on top of the deck is a duplicatedT oÍ clubs without sígnature, I show the signed 7 of
clubs (shadow card) and place it face up on the top of the deck (fig57), I double lift the top 2
cards (the signed 7c and a duplicatedTc),1 use Hiro Sakai' s Duck change (fig58), snap
the 2 cards on the table, the signature is visually gone (fig59), I pick up the normal 7c and
show both side of the card, now attention on the 7of clubs, I cover the shadow card with the
deck.
Normal Duck change needs to be done on the deck, because of the shadow card, I can do
it on the table (black close up pad), the shadow card will be covered with a normal card,
and it' s a very visual color change.

Fig 57 Fig 58 Fig 59

The last effect is Íor complete the time back story, and perhaps best, just when you think
you' ve witnessed the climax, you get hit with more miracles.

Below Video links

https //yo utu. be/Pj RWOGwSK5k
:

21
Black Art in Close up

Some tips oÍ use black art in close up:

1. Close up Pad and the shadow cards/coins are using the same black material.
2. Black material should not reflected light, velvet black or crushed black are good.
3. Black material should be thin, and use thin cards/coins. lf shadow card/coin too thick, the
edge will be obvious.
4. You can find useful fabric from this online store:
https://www. on inefabricsto re. net
I

5. PerÍorm in front of strong light, it's great if you have a back light to cast shadow of your-
self body on the close up pad, or you have a cup or something to cast shadow, always hide
the shadow cards or coins in cast shadow(Fig60), it' s impossible to see even in close up.

Fis 60

6. Cover: You always have a cover on the shadow cards/coins, not need exacily cover the
shadow cards/coins, but only front edge of the shadow cards/coins, for example use card
box, or jokers, or a glass, and depend on what you doing in your routines. Even use trans-
parent glass to cover the shadow cards/coins, it does also make the shadow cards/coins
much more invisible.
7. Don' t over use black Aft, combine it with misdirection, sleights of hands technique and
other gimmicks together. Black Art should not only invisible for eyes, but also invisible for
mind.

22
 e

many of the effects, ideas and routines in

Ë:I Gredit where the information come from. lf I have
mB so that I can put the credits in future editions
oÍ this book.

i: REMEMBER
is no art without creation.
use some of my ideas
ing new, something YOU!

Written
BY
EUNG ( IIIE )
sn by Bill CHEUNG
bound in China
ng 2018

BILL CHEUNG( II(E )

n may be reproduced or transmitted in
or mechanical, including photoeopy,
ge and retrieval system now
out the written permission.

E3
na

'i-