4 a LElGhitS {have been seduced since the first time | saw Yoann'ssleights, techniques and tricks. Learning and studying his magic will definitely rise up your own touch. - Nestor Hato During our 2010 tour through Europe there were only a few magicians that really caught our attention. Yoann was definitely one of them. Not only did he show us a great time in Paris, he constant- ly had us saying to ourselves, «why haven’t we thought of that If you're up for a challenge and appreciate visually stunning material, love his ideas. Dan and Dave Put Your Hands Up6 GERD Self Switch GD This technique lows you to switch the top card of the deck for the one below it. You can also use it as a control. Hold the deck face down in your left hand and flip the top card face up. Take a pinkie break under the top two cards and execute a double push-off with your left thumb. The face up/face down double should be side-jogged by at least half of its length. Bring your right hand perpen- dicular to the right long edge of the double making sure your hand stays flat. The thumb should maintain pressure on the double. Fig. 1 Two actions will occur at the same time. The left thumb wil drag about 1 cm (That’s right, Paris uses the metric system) of the face up card to the left. ‘At the same time the edge of the right hand will apply a downward pressure to the right side of the face down card. The left thumb will release the pressure on the double and the face down card willjump intothe palm of your right hand. Next, the right hand will maneu- ver over the deck palm down, flipping the face up card face down on the top of the deck, - Put Your Hands Up it will then replace the palmed card back on top secretly swit- ching on for the other. During the whole action, the right hand must stay flat. The right hand will now pull the top card inwards, and place the switched card in the middle of the deck. (Fig. 3) With some practice you will be able to perform this switch smoothly. Pay attention to the angles and you will be able to execute the Self Switch slowly. If you have trouble with the double push off, a nice substitute is to simply side jog the double by using a biddle grip. Yoann Fontyn8 GERD Self Double GD A double lift using the Self Switch. Start by doing the Self Switch, but as soon as the up permost card begins to turn face down, your left thumb is going to anchor the card inwards and align it with the palmed card in the right hand. Fig.1 Next, slide your right thumb along the inner edge of the cards and the others fingers on the opposite side to square the double. Finish the move by exe cuting a Stuart Gordon Double Turnover. Fig. 2,3 Put Your Hands Up Of course you can perform any ind of double turnover, but | think that the Stuart Gordon double turnover is the most de- ceptive in this situation, You can find a detailed explana» Larry Jennings’ “Jennings 67”. 9 GG One Hand Bottom DL Dp Read the above title. Hold the deck face down in your left hand. Bring the deck to the tips of your left fingers with the help of your right hand, You must have the left thumb on the left long edge of the pack, and the other fingers on the opposite long edge. Rotate your left wrist to place the deck perpendicularly to the floor. Apply pressure with your left thumb to bevel the deck. Fig.1 The left first finger needs to se- cure a break above the second card on the bottom of the deck, To execute this maneuver simply pull inwards on the two cards. This action should be similar to Marlo’s pinkie pull down. Fig. 2 Pull the double toward the base of your left thumb by applying Pressure on the back of the two cards with your left index finger. Fig. 3 Yoann Fontyn10 The goal here is to push away the air between the two cards in order to avoid the double to To finish allow left thumb to drop the deck back into the palm of the hand. The double will naturally fall onto the top of the deck. Fig. 4 ‘The action should simulate the same movements ut double lift work is to eliminate the air jer cut, The key to making thi between cards. d in the Char- secon omen Mlilimaiaaes Put Your Hands Up ll GERD Revolve Switch GD Four for Four switch (that a lot of fours) Start with four cards face up on top of the deck (in this case four Aces), and four cards secretly reversed on the bottom of the deck (in this case four Kings). Secure a break above the four Kings. Using your right hand, spread the four Aces to show them, square them together, and place them back on top of the deck, but this time leave them side-jogged to the left for about half their length. The right hand should be hol- ding the aces in biddle grip and the right index finger should be resting on their faces. The four Aces should also be touching the base of the left thumb. Yoann Fontyn In one continuous motion, the left hand is going to coalesce the four Kings below the Aces by side jogging them to the left, this will all happen as your right hand turns the entire deck over. You will now turn the deck face down and deal the four top cards, they will now be the Kings. You can use this move as an addition as long as all the cards are face down, po12 GD ITs GD Color change / Control Start with a card secretly reversed on the bottom of the deck. Spread the deck and let the spectator choose a card. Place their selection face up in the middle of the deck but leave it out jogged for about one third of its length. The left thumb should be on the left long edge of the pack and your left index finger needs to be curled under the deck. The right hand rests perpendi- cularly to the right long edge of the deck. The right index finger will support the out-jogged card and the upper half of the face down deck. Fig. 1 The left handis going to execute a Hermann pass. When the out- jogged card becomes the lower- most card, your left index finger is going to square this card with the rest of the deck. At the same time, the right middle finger is going to drag out the card that was secretly reversed at the bottom at the beginning. In order to hide the process, you must extend the right finger af- ter the change. Fig. 2, 3, 4 Put Your Hands Up Control explanation: Simply do the same move with all cards face down. There is no need to extend your right fingers at the end of the move. This move is based on atechnique published by Bebel under the name of «Un saut de coupe pas classique» ( A not classical pass) in Revue Arcane n°83 page 6 and 7. Yoann Fontyn15 TRI ckKS GRD cruxelles 2.0 Two chosen cards are lost in the deck. The first selection appears face up in the middle of the face down deck, then it changes visually into the second one. Let the spectator choose two cards. Execute a half pass | Paper Engine” by Aaron Fisher under the top card. in which the gravity half pass is explained. Take back the first selection and lose it in the middle of the deck now be rever- sed due to the condition of the deck). Control the second selec- tion by executing a tilt under the top card. Again execute a half pass under the top card and spread the deck to show that the first selec- tion is now facing up. Perform the TTB (refer to the moves section) to change the card into the second selection Bruxelles was a trick 1 pur blished in the Bluff DvD. For further information about the half pass | advise you to read the excellent book «The Yoann Fontyn16 GED Spicy Sandwich @D Two Jacks are taken from the deck, and a spectator selects a card. The performer takes both Jacks and makes them turn magically face down, but only fora couple seconds before they instantly morph back to being face up. Suddenly the Jacks trap the spectators selection between them. The selection is removed and held in the right hand, but suddenly vanishes and jumps back visually between the two Jacks. Take the two red Jacks and place them face up on top of the deck. Let the spectator choose a card and as they do secure a pin- ky break below the top three cards of the deck (that being the two jacks and a face down indifferent card). Return the selection to the deck under the top three cards by using Tilt but keep a pinky break below their selection. Take these four cards with the right hand in biddle grip position and table the rest of the deck face down in front of you. 1st phase: Peel the first Jack with your left hand and place it under the packet but side jogged to the left. Execute a one hand top palm from a small packet to Put Your Hands Up vanish the first Jack (This tech nique is described at the end of the trick). Fig. Transfer this three card packet to the left hand. Your left thumb is going contact the top card of the packet and your left fin- gers should be contacting the face of the second card (which is secretly hidden right now). By using the left fingers you square the middle card with the bot- tom one to reveal the second magical turnover. The move is similar to Guy Hollingsworth’s technique called “‘the optical al gnment”. Fig.2 2nd phase: You should have a Jack palmed in your right hand, and in your left hand, two face down cards with a face up jack secretly hidden behind them. Square the three cards in your left hand and grab it by the right hand in biddle grip. Peel the top cardinto the left hand, and place the double slightly outjogged on top of it. Put your left index finger on the outer edge of the double in order to execute the Victor Change. Fig. 3 Yoann Fontyn 17 The next two actions are going to happen simultaneously. Your left first finger Is going to push inwards on the card hidden behind the top card and square it with the lower most card. At the same moment, the right hand is going to drop the pak med Jack on the top card. Fig.4 The spectator sees both Jacks turn face up visually.18 3rd phase: Producing the selec- tions. With the help of your right hand, place the top two cards as one to the right of the packet. Hold this display in the left hand with the left thumb on the top Jack. Using a shake, push the top jack to the right purposely splitting the double, this will produce a face down card. Fig. 5 Grab the Jack and the selection in right hand biddle grip and turn your hand palm up to show You are now going to switch the selection for the indifferent card, The left fingers touch the indif- ferent card which is hidden beneath the second jack. The right index finger is going to rest on the left edge of the selection. Turn your right hand palm down, the next two actions are going to happen simultaneous- ly. As the right hand moves palm down the index finger is going to square the selection beneath the jack. At the same time the left hand is going to push the face down indifferent card to the right. The right hand will then grasp the indifferent card by its right short edges and place it onto the table. ig- 78,9 Put Your Hands Up The right hand should be hol ig a double, place this card on top of the jack in your left hand, but leave it spread to the right. ‘The reversal of the first Jack wa: Kok, called «the cheek of the monster published in the Zenneth Kok Dv. 19 The right hand will then pick up the tabled card and hold biddle grip position. Fig 10 To make the card travel, palm the right card using the one hand top palm technique from a smal packet, (described at the end of the trick) and at the same time spread the left hand’s cards. To clean up simply give the sandwich to the spectator and unload the palmed card on the deck. spired by a routine of Zenneth ‘The idea of the second reversal was originally published in Guy ingworth’s Drawing Room Deceptions under the name of Optical gnment. ‘Also the use of the Victor change and a palmed card chat neously was inspired by Chris Kenner’s In Ten City from hi of Control” ‘The Victor Change is described in Jon Racherbaume! Ib» Yoann Fontyn20 ONE HAND TOP PALM FROM A SMALL PACK In order to execute the ‘one hand top palm from a smal packet, you have to start with the cards in right hand biddle grip. ‘The pinkie is placed on the right long edge of the cards and the dex finger on the left long edge. Gently bend the cards upward. The index finger has to split the top card from the rest of the pack and move inwards. ‘The pinkie is the pivot point for this action. Once the palm is executed, the index and pinkie come back quickly to the ini biddle grip positions. Fig.1,2,3 For more work on this technique check out Ray Kosby's Impos- sible Card Magic DVD. Put Your Hands Up es 21 GERD Follow the White Rabbit yp The four aces morpl time. Start with the four Aces face up on the top of the face up deck, but leave them injog- ged for about 13 of their length. Fig.t Riffle the upper left comer of the deck with your left thumb and have the spectator say stop. When he does, grab the upper pack, with the right thumb on top and the other fingers on the bottom and tabled it face up, but leave the Aces in their sta- tionary position. With the left thumb riffle two more cards in order to get a break. Outjog these double cards with your right thumb and ito a spectators selection, but only for a short index. Fig.2 You will now switch the selec- tion with the indifferent card which is hidden beneath it. The right thumb touches the face of the double and the other fingers grasp the double from the back. In the same motion, you slide the selection down with your right thumb and square it with the Aces as you raise your left hand to hide the action. Remove the protruding indifferent card and use the inner short edge of this card to completely square the selection with the Aces, Place this card Yoann Fontyn22 face down a bit offset on top of the tabled pack. Fig. 3,4,5 a” Flourish: Transfer the left hand packet into right hand biddle grip. The right thumb should be resting beneath the injogged cards and should be perpendi cular with the deck. Move your index finger inwards towards the thumb in order to get these cards to flip face down and have them land in your left hand in dealer grip. Place the rest of the deck on top of the tabled pac- ket, sandwiching the supposed selection between the face up deck. Fig. 6,7,8 Put Your Hands Up Peel the top card of the packet and bottom card of the packet as one and peel the other cards normally on top of it. Diminishing Lift Sequence: Buckle the bottom card and exe- cute a quadruple lift. Turn it face down and deal the top card face down onto the tabled face up deck. Do the same action with a triple lift. Do a double lift and tum it face down, but this time deal the top and bottom card as one onto the deck. Turnover the last card and place it face up on the tabled deck. Take back the deck in a left hand dealer grip without squaring the Outjogged card, Turn the selec- tion face down and you will swit- chit for the protruding card. Yoann Fontyn 23 Place your leftindex on the short edge of the out jogged card and the following two actions wi occur simultaneously. While you're turning your wrist clockwise, the index finger wi push the protruding card square with the deck. At the same time, the left thumb will out-og the top card, This is a similar action to Jason Alfords Angled After Burner, The audience should think it’s the same card, Take the selection with the right hand and table it. Fig.9,10,1125 Show that the Aces come back zap 123 321 > to their original value. The performer plays with the pips of the Ace, Two and Three of Clubs and asks the spectator to choose two cards. They are lost in the deck This routine is an adaptation of a new general card’s plot. The flourish part was inspired by Alejandro Portela’s Nebula. The final switch’s idea comes from Dan & Dave's Tivo Transpo explai: ned in their Trilogy set, it closely resembles Jason Alfords Angled Af- ter Burner move, which can be found in a small booklet titled “Ashes to Ashes”. Put Your Hands Up but then collected between the Three, Two and Ace of Clubs. Setup: Three of Clubs face down-Two of Clubs face down- Ace of Clubs face up-Rest of the deck face down Turnover the top card and take it with your right hand. Secure a break under the top two cards of the deck with your left pinky. Place the Three of Clubs face up on the deck and take the top three cards as one with your right thumb on top and the other fingers below. Execute a paint brush change to change the Three into the Ace and Two of Clubs. Fig.t,2 Have a pinky break under the newly revealed two of clubs and execute a half pass. Pull down the bottom card with your left pinky (Three of Clubs) and slightly bend this card in order to dissociate it from the deck. Fig.3 Yoann Fontyn26 Perform the Visa Switch to change the Ace and Two of Clubs in the Three of clubs. To accomplish the previous move, you need to grab the deck by the right long edge with your right thumb on top and the other fingers below. Shake the wrist in a straight downward motion, the deck will revolve and drop into the left hand. At the same time, your right hand’s fingers will pinch the bottom card. Fig.4.5.6 Put Your Hands Up Secure a pinky break under the bottom two cards and place the Three of Clubs face up on top of the deck. Cop palm the two bottom cards. Grip the outer short edge of the deck with your right hand and turn the deck face up. Square the cop palmed cards with the deck. Fig.7.8.9 Turn the deck over to show the appearance of the Ace, Two and Three of Clubs. Show these three cards and in- jog the Two of Clubs. Flip this pack of three cards face down, lift off the top two cards like three and table it Get a pinkie break under the top card and perform a mechanical feverse while turning the deck face up. Yoann Fontyn —~C27 Spread the deck face up and let the spectator name two cards. Control both of them under the deck with a spread cull. Turn the deck face down and transfer the top card to the bottom via double undercut or classic pass. Have a pinkie break under the top card, Pick up the tabled pack and lay it faced up on top of the deck. Grasp the top three cards in right hand biddle grip and peel the top card of this packet off and displace it to the bottom of the three card packet but lea- ve it side jogged to the left. Place the right hand’s card on the deck but spread to the right to show the Ace, Two and Three of Clubs. Grab the top three cards with the right thumb on top and the other finger below. Fi28 Bring the right hand closer to the deck and the right fingers touch the bottom card. Extend your two hands and take away the bottom card with the right hand and spread the Three of Clubs to the right, Place your right hand’s cards on the Ace of Clubs to show the appearance of the collected cards. Fig.11.12 For more details about Roy Walton’s Paint Brush change, check out Goodwin version as shown in the Reflections DVD. The Visa switch is described in Kevin ho’s Smooth Operation booklet. The last production of the Ace and the Two is inspired by Steve Beam ina routine called Layover, find it in his Hand picked card tricks boo- Klet. play is an idea by Bebel published in Imagik's maga- ine vol 26 in the routine “Les as pirateurs”. Put Your Hands Up 29 GRD XxX Transposition Gp Transposition effect between two selections. Setup:You need double faced card which has the same value on both sides. Place this card on the bottom of the face down deck. Spread the deck face down and ask to the spectator to touch a card. Show it and control it via Larry Jennings? Im- mediate bottom replacement. This technique allows you to control a card under the spread while keeping an outjogged indifferent card in the middle of the spread. There is alot of other way to have the same result as Dan and Dave's Spread Control; Marlo’s Convi nest Earick’s Convi etc. 1g Control While culling the selection under the spread, buckle the bottom ard in order to place the selec tion in second position from the bottom of the deck and close the spread. You should have the following situation: Half of the deck An indifferent out jogged card -Rest of the deck ‘The selection The double faced card Execute the One hand bottom DL described earlier. Angle jog the protruding indif- ferent card to the right. Perform the same switch as explained in the Follow Rabbit where the center card is swit- ched for the top one. Fig. 42,3 Yoann FontynGrab the Double faced card with the right hand and reveal the transposition by showing the new top card. This trick is base on Dan and Dave’s Tivo Transpo. Immediate bottom replacement is published in Jennings 67. Put Your Hands Up middle of the face up deck, Hold the deck perpen: dicularly to the floor with your left hand. The left index finger is curled onto the face of the deck. The left thumb is placed along the left long edge of the deck and your right thumb is just behind the left one. The right in- dex is curled on top of the deck, and the rest of the right fingers are on the right long edge. Fig. 1 Ask the spectator to say stop as you riffle the cards with your left thumb. When they say stop, in- sert your right thumb in the gap nd continue to riffle two more Yoann Fontyn 31 GERD Spinning Triumph GD Acard is chosen and lost in the deck. The performer shuffles the deck face up into face down, With only one hand, he puts the deck back in order, except the selection which is the only face down card in the cards. The right thumb holds a break between the double card and the upper part of the deck, Fig. 2 Separate the pack into two halves. Now, the right thumb drops the double which falls on the tips of the left hand’s fingers, Fig. 332 Raise the right hand to lever the double face up onto the left hand’s pack. The left thumb retains the double before it squares with the pack. Fi Place the right hand’s pack face down on the double which is st face up. With the right hand, re- volve the pack counterclockwise 180° but maintain the separation between the two packs with the help of the left thumb. Fig. 5.6.7 Put Your Hands Up Take the uppermost pack in the right hand’s biddle grip, and peel the top card of the right pack onto the left one. Secure a break under this card and place the rest of the deck on top. It should seem as though you are losing the spectators selection in the deck. Check point: face down selec: tion - half of the deck face up ~ an indifferent card face down ~ pinkie break - rest of the deck face down. Split the deck at the break and take the upper half in the right hand’s biddle grip. Tum both wrists to show each side of the deck. Revolve the left hand's pack face up. Side farrow the left Pack into the right one. Make Sure that the right pack’s top and bottom cards are both on the outer ends of the shuffle. Fig.8 33 Magic Time: You will now re- verse all card face up, except the selection, with only one hand, Take the deck dealer grip. the left hand The pack’s order should be: face down chosen card ~ face up deck - face down indifferent card. Execute a Charlier cut. When the lowermost pack drops on the upper one insert the fourth fin: ger between these two halves to keep a separation. Fig. 9 Yoann Fontyn34 Have your middle finger on top of the deck. Extend the fourth finger to make pivot the upper- most pack. Fig.10 Catch the pack with your thumb on the left edge of the upper: most pack. With the help of the middle finger, flip the packet counterclockwise 180° over top the thumb. Your thumb is now between these two packs. Extend the thumb and bring the bottom card of the upper half on top of the deck. Fig. 12 Spread the cards. Tips: While shuffling the cards face up into face down, if your right hand’s pack is thinner than the left one it will be difficult to keep the top and bottom card on the outer ends. To avoid this trouble, you can inflate the pack by starting as spring but releasing the pressure after. Fig 3. Put Your Hands Up Bonu36 ‘ GEEEED Nitro Ace GD A Four explodes into the four Aces. Setup: Start with the deck face up. An indifferent card =A Four = Rest of the deck ~ The four Aces You have the deck face up in your left hand dealer's grip. Get a pinkie break above the four Aces. By saying find the four Aces in one shot.” Performa slip cut to produce a Four. Take the Four and table it to the right. Cop palm the Aces and lay the deck on the left side of the table. Execute a cop to full palm trans- fer of the Aces from the left hand to the right hand. To do this, you have to curve your left third finger under the Aces. The right hand comes over top the left hand and classic palms these cards. Fig 1.2.3 Put Your Hands Up Execute this technique while moving your hands to show the Four on your left. Take the Four in biddle grip with your right hand and transfer this card to the left hand, The inner edge should be level with the third finger in order to leave the pinky free. Your left thumb must be in contact with the face of the card. Fig 4 The left pinky touches the Aces inner edge. 37 The right hand moves backward a bit to create a pressure on the palmed cards between the left pinkie and the right fingers. Fig 5 Place your right hand above the card to hide about 90 per cent of this card. k Release the right hand's finger grip to pop out the four Aces to the table. In the same motion, the left hand fingers stick the four in the right hand classic palm. Go back the deck to unload the palmed card on it. The final “blast” is an adaptation of the Ernest Earick’s betws ished in his book By forces unseen,