Goodlette Dodson - Exhibition Card Fans.pdf

GOODLETTE<-> D ODSON .

W ILL ALMA M.I.M.C. (LO NDON)

By

Goodlette Dodson

Published by

H. R. Hulse

Atlanta, Ga., U. S. A.

1935 A N D R A D E’S 173 P i t t S t r e e t , SYDNEY

Copyright 1935 by H. R. Hulse

P rin te d in the U n ite d States of A m e rica

First Printing February 193 5 Second Printing M ay 1935 Third Printing A ugust 1939 Fourth Printing September 1941 Fifth Printing August 1943

D e d ica te d to M y L o n g S u ffe r in g W ife W h o H a s H a d to W a tch M e D o These F a n s So M a n y H u n d re d s o f Tim es.

CONTENTS CHAPTER

1.

PAGE

Cards M o st S u it a b le f o r F a n s — H ow t o C are f o r t h e D e c k — Ca re of t h e H a n d s — M ethods to I n su r e P erfect F a n s — B eauty a n d C olor in F a n s — P erfect F a n s W it h ­ out “ S p r in g in g ”— S etup for E ffective F a n s .....................

9

2.

T h e T w o -Ha n d e d F a n ................ ..................................................

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3.

Two F a n s in O n e H a n d ..............................................................

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4.

T h e B u zzsa w F a n .........................................................................

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5.

T h e S potless S pot F a n W it h t h e Tra v elin g K in g .........

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6.

T h e R o s e t t e ...................................................................................

26

7.

Tr ip l e Tr a n s p o s it io n ..................................................................

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8.

Two F a n s in O n e H a n d — O n e L arge — O n e S m a l l ...........

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9.

R o s e t t e a n d F a n ..........................................................................

34

10.

T h e R is in g S u n ...............;...............................................................

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11.

C om plete C ir c l e W it h F aces of Cards ..................................

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12.

B l a n k F a n — S p o t Fan..„ ............................................................

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13.

T h e B l a n k F a n ............................................................................

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14.

T h e G ia n t F a n ...............................................................................

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15.

T h e O n e -Ha n d F a n ......................................................................

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ED IT O R’S INTRODUCTION It is with a great deal, of pleasure that we present to the magical fraternity this book, the first of its kind dealing with a branch of the magic art that is compara­ tively recent in its practical application as an exclusive entertainment feature. The work of editing and mechanical preparation has been arduous and exacting, but we feel that we are presenting to our brother magi a book that will enable them to add to their repertoire an act of universal appeal. Special attention has been given to making the illustrations large enough for easy comparison with the text and in the text itself grammatical construction has sometimes been sacrificed for the sake of clearness. We wish to especially thank Mr. A. L. Terry, of Atlanta, Ga., for his co-operation in reviewing the final manuscript and illustrations, in order to test by actual performance, the accuracy of the routines described. H. R. HULSE.

P R E FA C E Without a semblance of egotism, I feel that I may say that I am intimately acquainted with every detail of book-making except that of being the author, and while I consider it a distinction to be called upon to write the introductory matter for a book of this character, it is not possible to comply with the request without asking myself the question: “Why should a book have a Preface?” No one cares how long I have known Goodlette Dodson, nor under which sign of the Zodiac he presented his first card experiment. This book, I may say, is unusual, and its appeal should be far-reaching. Unlike other books of magic, it is not limited to the adepts of the magic art, but may, indeed, include many thousands who love the mystery to be found in a pack of cards. The remarkable photographs herein shown, along with the comprehensive descriptive matter, create a force which should qualify as superb entertainers countless numbers of individuals who possess the undeveloped faculty of dexterity. Bridge enthusiasts in great numbers should find this a most fascinating introduc­ tion to an entirely new field—a field practically unexplored—and it is wholly reasonable to predict that future outstanding entertainers with cards may come from the ranks of those who have not been bitten by the magic bug. Intimate acquaintance with the author enables me to say that digital dexterity has not been his most brilliant achievement, and yet, within a period of effort not to be considered long and arduous, he has developed this phase of enchantment to a degree which impresses the spectator as a state of perfection. Dodson simply resolved to learn the secret of “fanning” a pack of cards, and here is the result of that resolution. My association with him throughout the greater part of this period of intensive rehearsal gave me the opportunity to see him set up any num­ ber of goals, and I know that he will never permit himself to attain the goal of ■perfection. As soon as one desire has been satisfied— one herculean task finished— he fixes another goal in the dim distance and pursues it with renewed vigor. As compared with that of the author, your task will be an easy one. He had no instructor, but was compelled to discover the vital positions and establish the well-timed moves for himself by the “cut-and-try” method. In this book, there are nearly one hundred remarkably clear photographs which cannot fail to carry you on to the pinnacle of success as a most unusual entertainer if you follow their guidance even with a small degree of interest. Mr. Dodson has not only released the rare secrets of all the moves, but has explained in extreme detail the best methods for obtaining the most gorpreous and spectacular color effects. Card fans readily create an atmosphere of magic, and here is a true guide for making them. T.

J.

C ra w fo rd

(Have A Card).

FOREW ORD

For no apparent reason, except possibly to follow the procedure of others who have been guilty of the same thing, a few words will probably be excused. To begin with, the difficulties incident to the publishing of a book of this character have been numerous, and at times seemed insur­ mountable. But by perseverance, love of the subject and the assist­ ance of many, we have finally accomplished our goal of putting before magicians this—the first book of its kind dealing exclusively with card fans. To the best of my knowledge, no book has heretofore contained anything of this nature, other than the usual two-handed fans, with which all magicians are familiar. To make the subject matter clear and understandable, many pho­ tographs were taken. From these the text was written, then checked by competent magicians through actual performance. In a number of instances all this had to be gone over again. We mention this to show the painstaking care with which this book has been prepared. For the contents of the book, I have no excuses to offer, no apolo­ gies to make. The material herein is to the best of my knowledge and belief original. In conclusion I wish to thank each and every one of you who have complimented me on my work with fans. Should you at first have any trouble in making them, just remember that the art of manipu­ lative magic is not acquired by simply wishing for it. The road to perfection is through work, practice and experimen­ tation. So it is with the material in this book—it is not something that you can read and then immediately do. It will require work on your part to perfect. However, the time required has been consider­ ably reduced due largely to the groundwork laid by the experimenting I have made and my experience with the subject. May you get as much pleasure out of this book as I have had in preparing it. G. DODSON. Birmingham, Ala. February 1, 1935.

The State Library of Victoria “A L M A CONJURING COLLECTION

CHAPTER ONE Cards Most Suitable for Fans This is a very important chapter, and one which the student and card manipulator should study and remember. Many magicians have handed me decks of cards and said: “I can’t seem to fan these; what’s my trouble ?” After looking at the cards I quite agreed with them. Some of the cards were so worn it was a physical impossibility to fan them. Others were so dirty it would have been a shame to desecrate a fan with them. However, the most common trouble seems to be with the cards themselves. A common fault among younger magicians is that they think any deck of cards will fan. Nothing is further from the truth. Some cards on the market today feel and fan just as that much sandpaper would. Dis­ card this type card and try another. Experiment until you find the card that is suitable to YOU. This is not so hard, as there are several well-known brands of cards that will suit the most fastidious taste. Be sure your cards will fan before attempting to make fans. Some may prefer standard size cards, while others prefer the popular bridge size cards. Either or both are adaptable to this type of manipulation. All photographs shown herein are of the bridge size cards. After much experimenting with various brands of cards, we believe those found at the five and ten-cent stores seem to be the most suitable for all-around purposes. The chief reason for this is the wide variety of modernistic back designs. More about this later. How to Care for the Deck Cards seem to be the most sensitive of all the magicians’ tools. It therefore behooves you to care for them as much as you would your most expensive piece of apparatus. Should they become warm, they will be very hard to fan; in some cases impossible. The same applies to their becoming too cold. In all cases they should be kept perfectly DRY. It is a good plan to take the cards out of the case as soon as you enter the place you are to perform. This will adjust them to the temperature of the room gradually and will save you some trouble and possible embarrassment later on in your program. 9

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E X H IB IT IO N CARD FANS

Care of the Hands Should your hands become damp and sticky, do not handle your cards. Wash your hands thoroughly. If the weather is hot, let some cold water run on the arteries of your wrists for a few seconds. This will cool your hands and stop perspiration for quite a while. If you are of the type whose hands do not perspire, carry a small piece of rosin with which to rub your fingers and hands just before you do your fans. Too much rosin will cause sticky fingers. After a few times you will find just the right amount for your hands. Never put powder of any description on your hands or cards. Methods to Insure Perfect Fans IMPORTANT! If you follow the suggested setup outlined in the following pages, DO NOT attempt to fan the cards until you have your setup complete. Keep your cards one way ALWAYS and fan from one end only. If you are using a card with a modernistic or one-way back design, arrange all of the cards one way and keep them that way. Make up your mind which end you will fan from and stick to that end. The cards when fanned a few times will get set to each other and will make your task easier if you stick to fanning at one end only. Also, practically all cards have the corner suit and spot value printed closer to one side than the other. If you will set up the cards so this narrow border is exposed when you make a fan you will get a much larger display of spots when fanning for spots. Beauty and Color in Fans Many of us have overlooked the possibilities of beauty and color in card fans, being content to fan the cards with two hands or one hand, disclosing the faces of the cards and letting it go at that. This is good, but for doing exhibition card fans hardly goes far enough. To overcome the sameness of card fans we suggest you use a bridge size card. This on account of their wide range and variety of modernistic back designs ; also the many colors used in these designs will enable you to do some very beautiful work when the backs of the cards are turned toward the audience. After fanning the cards and showing the backs to get the color flash, turn the cards around and fan the other end and you will get an entirely different flash. This may seem a bit contradictory to what has been written about fanning only on one end, but if you will confine yourself to this a few times on each deck you will not destroy the effectiveness of the fanning qualities of the cards.

E X H IB IT IO N CARD FANS

11

Perfect Fans Without “Springing” Those of you who are doing card fans, especially the two-handed fan, may experience a little difficulty in mastering the move necessary to the closing of the various fans. All text books I have ever seen on the subject teach you to hold the cards squarely in the left hand, grasp the upper right corner of the cards with the fingers of the right hand and “bend” the cards, at the same time moving the right hand around and down, describing an arc. The mechanics of a two-handed fan are exactly that. Did you ever stop to think that this type of fan is similar in every respect to springing the cards from hand to hand except that you hold the cards? I f you will analyze this “springing fan” you will see that that is exactly what it is. In this work we introduce a new position for the left hand, par­ ticularly the left index finger. We show that the springing of the cards to make a fan is not necesssary. Setup for Effective Fans

As the fans described herein are dependent on a setup for effectiveness you should thor­ oughly understand the arrangement. Presum­ ing that you have a new pack of cards at hand we will describe this setup. Face down on the table place the King of Clubs, on top of this also face down place the Queen of Clubs, next the Jack of Clubs and so on until you have all of the Club suit arranged consecutively. Next, on top of the Ace of Clubs, place the Ace of Spades, then the Deuce of Spades and so on until you have also arranged consecutively the Spade suit. This accounts for all of the black cards and the setup shows a King on the face and a King on the back, and in the center are the two Aces. Now on top of your King of Spades place the King of Hearts and arrange the Heart suit exactly the same as the Club suit. Then on top of the Heart suit arrange the Diamond suit the same as the Spade suit. The arrangement of the suits may be varied, but the object is to have the cards arranged in order and to separate the two colors, the reds

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E X H IB IT IO N CARD FANS

from the blacks. An arrangement of this kind has been found to be ideal for exhibition fans, and if followed will enable you to bring your routine to a unique climax. The setup described above is shown in Chapter Two— "Two-Handed Fans”— Photographs 2 and 3. Use of the Mixed Deck If you are going to use modernistic design backs, select with care two decks with the same design wherein red is the predominating color and the other where green predominates, or any other contrast­ ing combination of colors. Arrange both decks according to the above suggested setup. Place the arranged four suits from each deck sepa­ rately and face down on the table. Suppose you have a green and red deck. Place to one side the Club suit from the red deck face down, now on top of that place the Spade suit from the green deck. On top of the Spades place the Hearts from the red deck and finally on top of the Hearts place the Diamond from the green deck. Arrange the other deck the same way. The effect when the backs are fanned will be found to be very effective and rather startling. This seems to be a point overlooked by many. Keep the setup intact at all times; they are never shuffled except at the finish and then in a quite pretty manner. The two photographs accompanying this chapter show two of the many effects obtainable with the mixed deck.

CHAPTER TWO

The Two Handed Fan At first glance the two handed fan described in this chapter will appear to be similar to others described in various books on the sub­ ject of card magic. A close examination and application of the direc­ tions will soon convince one that this fan is well away from the usual two handed fan. The move to be described is a sort of “key” or “basic” move for many of the fans that are to follow. Whether you wish to master a few or all of the fans in this book, you should spend the time neces­ sary to perfect this one first. Photograph No. 1 shows the proper way to hold a pack of cards. Your attention is called to the position of the index finger and thumb of the left hand. You will notice the index finger extends slightly beyond the edge of the cards, at a point almost to the first joint. The thumb in the rear is held against the cards just tight enough to pre­ vent their slipping. Do not hold the thumb in a cramped or unnatural position. As the photo shows, the fingers of the right hand are resting rather lightly on top of the cards. The right thumb being underneath, near or on the lower right hand corner. At first the positions of the hands may appear to be rather awk­ ward; however, a little practice will soon prove otherwise. This is especially true for those who are now making the two handed fan. In the actual forming of this flourish the right hand goes around and down to the right, describing sort of an arc. Instead of springing the cards or bending the corners, loosen up a bit on the pressure and just sort of drag the cards around, down and to the right. It will surprise you how soon you will be able to discard the bending process if you have been making fans in the old manner. As the right hand begins the fan, the index finger and the second finger will be on the top right hand corner of the cards. As the fan increases in size you will find the second finger leaves the cards en­ tirely, leaving the index finger of the right hand to finish the forma­ tion. This is as it should be. The index finger continues on around until the fan is just a little better than half opened, at this point you will either twist the left hand containing the cards a bit to the 13

E X H IB IT IO N CARD FANS_________________ right or your index finger on the right hand will feel a bit cramped. Either twist the cards to the right, or better still, begin to turn the index finger of the right hand around until the back of this finger is on the cards, then con­ tinue making the fan with the back of the index finger of the right hand. Though this may seem a bit complicated, in actual working it will clear itself. After the actual start of the fan itself, you will find that only four fingers are used in the formation, the index finger and thumb of the left hand and the index finger and thumb of the right hand. Examine the photo again and note that the index finger of the left hand is extending slightly beyond the edge of the cards. This is important. Remember that many of the moves to follow are dependent on this one thing. Main­ tain this position. D O N O T m ove th is finger. Keep at it until you master it. This point can­ not be too strongly stressed. Photograph No. 2 shows the completed fan with the index finger held as outlined above. You will feel, directly under and against the ball of this finger, the edges of the cards. Prac­ tice this until you are able to detect the corners of the cards in a sort of “lump.” The index finger being held properly, the thumbs of both hands in proper position, prevent the cards from spreading too much and hold the cards in proper position for closing. Photo No. 3 shows the index finger moved down on the fact of the cards, the second finger being moved up to position formerly occupied by the index finger. To do this the second fin­ ger is brought up directly against the index finger. The second finger exerts sufficient pressure against the cards to prevent slipping. You may now lift your index finger and bring it down on the face of the cards as shown in the photograph.

E X H IB IT IO N CARD FAN S

15

You now exert pressure again with the index finger to allow free movement of the second finger. The second finger is next moved down until you feel the edges of the cards at the corner or the apex of the fan. This is the point formerly occupied by index finger. The second finger now pulls down against the corners, the index finger loosening up a bit on its pressure. By a downward movement of the second finger you will find the fan will close completely. The tip of the index finger should be held against the face of the cards, instead of the ball of the first joint. As the fan closes you will notice a little friction on the first card. It will have a tendency not to close with the remainder of the cards due to the pressure necessary to prevent the cards from slipping. This can be overcome. As the fan closes, begin to slowly crook the index finger until the finger nail is directly against the face card. You may then maintain the necessary pressure against the cards and at the same time eliminate any friction that prevents the face card from closing with the remainder of the fan. If this is not done, you will find one card will remain upright almost at right angles to the deck. Photo no. 4 shows the finish of the closing. You will notice the index finger is almost in the palm of the hand. At first the closing will be a bit jerky. You may think you will have to move the left hand considerably to get the cards started closing. Practice on your part will eliminate any jerky movements of the left hand and you will be able to close this fan with a beautiful flourish and finish to your two handed fan.

C H A PT ER T H R E E

Two Fans in One Hand In the entire realm of fan making, this is one of the prettiest and most effective fans one can make. Its finish or rather semi-finish is very startling to the uninitiated. The cards are held and the hands assume the same position as for making the two handed fan, keeping the index finger of the left hand in position as described. In Photo No. 1 the position of the right is not exactly as it should be. This is done to emphasize the position of the index finger of the right hand. In addition to the position of this finger, the two middle fingers of the right hand are placed on top of the deck near the upper right hand corner, the little finger is placed against the sides or the right hand edge of the cards. These fingers merely serve to keep the cards well squared up and in no way do any actual work in the making of the fan. This you will see once you try this fan—the actual position of the entire hand being shown in Photo No. 1-A, which shows the cards as they appear from the audience. Photo No. 2 shows the index finger of the right hand after making the first fan, which is composed entirely of red cards. (See Chapter One, “Setup for Effective Fans.”) The index finger being held against the left side of the cards, it now comes around and down to the right, making an arc, and being kept against the sides of the cards during the process. In this move attempt to get only the red cards or exactly half of the deck. This is one move that is very hard to explain. How can you get just half the deck with the index finger of the right hand ? The answer is, try it and keep trying it until you find you have done what at first seemed almost impossible. You will find it fairly easy to master after you have tried it a few times. Don’t get discouraged. Eyesight and timing play an important part. Photo No. 3 shows the thumb of the right hand separating the cards at the point between the red and black cards. Pressure being maintained at all times with the thumb and index finger to prevent slipping. Photo No. 4 shows the little finger of the left hand inserted at the point or break between the two sections. Hold the thumb of the right hand as shown in Photo No. 3 until you have inserted the 16

E X H IB IT IO N CARD. FANS ----------------------------------------

"

_

little finger as shown in Photo No. 4. Photo No. 5 shows the thumb and index finger of the right hand holding the remaining half of the cards preparatory to twisting them to the extreme left side of the red fan. The little finger is kept in positior as shown in Photo No. 4. Photo No. 6 shows the caros after the right hand has twisted or carried them to the left of the red fan. You now remove your right hand. Photo No. 7 shows the position of the right hand after releasing the cards. The fingers of the right hand are held against the thum b of the left hand. The right hand fingers are placed rather loosely against the cards. As shown in Photo No. 8, you now twist the cards around to the right and down, dis­ playing a fan consisting of all the black cards. The fan containing the red cards is behind the black fan and completely covered. Photo No. 9 shows in an exaggerated way a division between the two fans. After making the double or two fans, pressure is applied to the cards as follows: The fingers of the right hand without changing position press against the face of the black fan. The fingers of the left hand press against the back of the cards. This pressure from both sides of the cards brings the bottom of the two fans up about half an inch or rather separates them about that much. While pressure is still maintained, fingers of the right hand spread just a fraction to prevent slipping of the front fan. Remove the thum b of the left hand from the face of the front or black fan. Insert the thum b of the left hand at the division point and place it on top of the lower or red fan. The thum b of the right hand now goes underneath the top or black fan. You now separate the two fans, disclosing a

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E X H IB IT IO N CARD FANS

fan consisting of all the red cards in your left hand, a fan consisting of all the black cards in your right hand. You should still be holding the position of the index finger of the left hand. Display the two fans to suit your fancy, finally bringing the two close together, with the red fan slightly above and behind the black fan. By using the method as outlined in “The Two-Handed Fan” you may now close the red fan behind the black fan, making a very pretty finish to a most unusual fan. Photo No. 10 shows the two fans separated and is shown to give you an idea of the two fans. After closing the red fan, bring the two sections of cards together again, being careful to get them to­ gether as they were before the separation. If you are using a one way back design, this will be easy. Standard cards should be marked to distinguish which end you are fanning.

Illustrating Chapter Three

CHAPTER FOUR

The “Buzzsaw Fan” Here is a fan that will provide a touch of comedy in your fan routine. The mechanics of the actual making are unusual, the change or transposition is unusual, and it is always good for a laugh. Photo No. 1 shows the two-handed fan, with the index finger of the left hand held in place. Cards are fanned with faces toward the audience and directly in front of you. Display this fan for a moment. Photo No. 2. With the index finger of the right hand separate the cards at the division between the red and black cards. Pull the cards at division point toward you. If you have followed the setup as suggested, you will find the division point as being at the King of Spades and the King of Hearts. Take hold of the King of Hearts and, without disturbing the fan, still hold the King of Hearts with the tip of the index finger of the right hand and simply bring the finger toward the body about half an inch. This will give you a good separation. Extend the fingers of the right hand, except the index finger, directly out in front so the two middle fjngers extend over the top edge of the black cards. Lower the little finger just a bit, now move the hand to the left until your little finger comes in contact with the dividing point between the red and black cards. The black cards should rest at a point between the first and second joints of the little finger. With the exception of the index finger the finger^ are held straight out and at right angles to the cards themselves. With the cards held as explained, the right hand moves to the left in a snappy manner. Photo No. 3 will give you a clearer idea of the action. These movements will close half of the fan, which includes the black cards and at the same time open to a much larger extent the half contain­ ing the red cards. Photo No. 3 also shows the index f.nger of the left hand moved down slightly from the corners of the cards, which is necessary for the move that follows: Photo No. 4 shows the red cards in a fan after the right hand has been removed and the black cards all being in one section to themselves after being closed. 20

* *

THustrati no- (Thantfir Four

22

E X H IB IT IO N CARD FANS

Photo No. 5 is a rear view of the cards as they appear in No. 4. Remember all the black cards are together. This gives you twentysix cards exposed in a fan and twenty-six cards ready to fan. From the rear, as shown in No. 5, the cards not fanned are at your left, with the right hand in position. The second finger of the right hand is placed against the edge of the cards comprising the twenty-six that are not fanned. The index finger of the left hand has moved down very slightly on the face of the cards in front. This finger is to act as a pivotal point. With the second finger of the right hand held against the edge of the cards, slowly twist the cards to the right and down a little, maintaining the shape of the fan. To do this loosen up a bit on the pressure you have maintained with the thumb and index finger of the left hand. These movements close the red fan previously displayed and will at the same time open the 26 cards in a fan, thereby simulating the action of a buzzsaw. Photo No. 6 shows the finish of this transposition fan. Index finger is held as shown in photo, the second finger now moves up beside it as explained in the one-hand fan and you can now close the black fan. The effect of the above moves is as follows: A two-handed fan displaying all the cards with the two colors separated, half of the fan closed displaying a fan containing only the red cards, this fan closed displaying only the black cards and finally closing the last fan, leaving the cards in your hand all neatly arranged and ready for the next fan.

The State Library of Victoria “A L M A CONJURING COLLECTION”

CHAPTER FIVE The Spotless Spot Fan with the Traveling King When first this fan is made it is a blank fan; that is, no spots or pips are visible; then the fan suddenly and visibly changes to one containing all the black cards, and the king rises up behind the fan and travels to the bottom. To prepare, place a blank card on the face of the deck. Photo No. 1 shows the correct position of the left hand. Notice the position of the thumb and index finger. When assuming this position be careful not to get the hand in a strained or cramped position. The cards are held rather loosely, just how much you will be able to determine for yourself after a short bit of practice. After you get the feel of the cards you will be able to do this neatly. Photo No. 2 shows the cards as being held directly in front of you. This is optional. The right hand is placed on the cards as shown and in exactly the -position as shown. The right hand with fingers held properly is slowly moved to the right and then in toward the body, just sort of dragging the cards in a circular motion. Photo No. 3. The middle finger does all of the work, index finger and thumb of right hand is used principally to keep the cards well square before the movement of the middle finger. As the cards begin to open, the middle finger gradually assumes a sort of beveled position; that is, not square against the sides of the cards. Continue the movement until the cards are open to their fullest extent, which will be in the crotch of the thumb and first finger of the left hand. Do not attempt to open the entire deck of cards but confine the opening to half the cards, which is the red cards. As the fan is gradually opened, the left hand makes about a quarter turn upward; that is, the palm of the left hand instead of facing the floor turns until it is facing the audience. The right hand follows this movement at the same time the fan is being made, the hands assuming position as in Photo No. 4. Remove the right hand and display the large blank fan. Photo No. 4 also shows the position of the right hand after dis­ playing this “spotless” fan. The middle finger of the right hand is placed against the edge of the cards and is pressed against this edge rather tightly. The right hand, with pressure maintained with 23

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E X H IB IT IO N CARD FANS

the middle finger, moves up a little and around the thumb of the left hand in a swinging circular motion. The fact that in making the blank fan you used only half of the deck leaves the other half (black cards) in a bunch on the face of the blank fan. As your right hand swings up and around the thumb of the left hand (with pressure maintained on the cards with the middle finger), this movement will naturally bring out and expose the black cards. If done rather fast, this visible change will be quite startling. Photo No. 5 shows the cards after the above moves have been made and before the right hand is removed. If you wish, the blank card may be removed at this point by simply jerking it out with the fingers of the right hand. Photo No. 6 is a rear or performer’s view of the cards when held as in No. 5. Note the blank fan is still behind your now black fan on the face of the deck. The audience never sees the backs of the cards from this point on. Photo No. 7. Note carefully. This shows the rear or blank fan closed. It is necessary to change the position of the index finger of the left hand slightly. It is moved to or about the position as shown in photo. Pressure on the cards is maintained with the index finger and thumb. With the two middle fingers of the left hand close the blank fan by pushing the cards back toward the index finger, letting them rest at the base of the index finger. With the edges of the cards resting securely against the base of the index finger you now apply enough pressure with the thumb to hold them securely at this point. You now lift up your index finger and— Photo No. 8—with the second finger slide up the back card (King of Diamonds), then using the third finger as a leverage point, the second finger and little finger moves this card up over the top of the fan. The third finger pushes up a bit and the little finger pushes or moves down. The photo shows the position of this rising card after it has been raised over the top edge of the fan. Photo No. 9 shows the cards as the audience sees them. Continue the above movements and the card will travel down to the bottom of the fan. Reverse the movements and the card will return to its normal position in the deck. Immediately following the return of this card the index finger assumes the position as explained under “Closing the Fan,” in Chap­ ter Two. The rest of the fingers square up the cards in the back. You may now close the black fan and be ready for your next fan.

Illustrating- Chapter Five

CHAPTER SIX

The Rosette The Rosette is a very beautiful fan or flourish and most manipu­ lators are familiar with it and probably know one or more methods of making it. The method described herein is a distinct departure from the usual moves and is well worth learning. Of all methods we have seen of making the Rosette, this is the fastest and is prac­ tically imperceptible when done rapidly. Photo No. 1 shows the correct position of the hands when holding the deck. You will note the middle finger of the right hand is placed in the center of the deck a short distance from the upper edge. The thumb of the right hand occupies the same position on the back of the deck. The index finger of the left hand is placed in the center of the deck just a small distance up from the bottom edge. The thumb of the left hand occupies the same relative position on the back of the deck. Sufficient pressure is exerted to prevent the cards from slipping. As the position of the two fingers of both hands is important, it might be well to mention that if you have the deck set up according to the suggestions previously made you have a King of Clubs on the face of the deck. On this card just inside the border and in the middle of the card the King is holding aloft a sword in his hand. If you will place the thumbs of both hands on the back of the deck at a point occupied by each hand of the King and the fingers as explained above you will have the correct position. Photo No. 2 shows the rosette half completed. The middle finger of the right hand is pushed up just a fraction and to the left. The thumb of the right hand is pulled down just a fraction and to the right. The middle finger of the right hand and the thumb of the same hand move opposite to each other. The index finger of the left hand up and to the right, at the same time the thumb of the left hand pushes up just a fraction and to the left. All of these moves must blend together as one. These movements are continued until the thumbs and fingers of both hands have made a quarter turn, moving in opposite directions. At this point, still holding the thumbs and fingers of both hands as explained, the thumbs and fingers sim­ ply push the cards very fast, thus completing the Rosette as shown in Photo No. 3. 26

______________E XH IB IT IO N CARD FANS To further explain what is meant by this “pushing” motion, Photo No. 4 was taken. In photo only two cards are used to illustrate the move. Just a fraction before the hands reach the position, as shown in this photo, push the thum b of the right hand toward the palm of the left hand, and the thum b of the left hand is pushed toward the palm of the right. The middle finger of the right hand is pushed to­ ward the index finger of the left hand and at a point so it will finally come to rest parallel and on top of the index finger of the left hand. The index finger of the left hand is, at the same time, pushed toward the middle finger of the right hand so it will finally come to rest under and parallel to the middle finger of the right hand. In first practicing these moves it m ight be well to start with two cards only so you will be able to get the feel and blend all the moves together. Sufficient pressure on and against the cards will be determined in actual practice. Examine Photo No. 3. You will notice the index finger of the right hand and the middle finger of the left hand on the cards. These in no way have any actual part in the formation of the fan and are placed there after the cards reach this point, merely to steady them to pre­ vent slipping. Although not as elaborate as some of the other fans, the speed with which it can be made makes it a really effective and pleasing routine.

CHAPTER SEVEN

Triple Transposition Effect: The regular two-handed fan is made after placing a blank card on the face of the deck, cards are separated at the point between the red and black cards, with the fingers of the right hand, movements made to the left closing the half fan of red cards, leaving the black cards composing the entire fan. Right hand now twists the cards to the right, the black fan closes and is replaced by all the red cards. The right hand now reverses the cards and the red fan is replaced by a blank fan. Photo No. 1 shows the usual two-handed fan with a blank card on the face of the deck. Make this fan as neatly as possible without the cards slipping down in the hand. Photo No. 2 shows the deck tilted toward you with the fingers of the right hand dividing the cards at the point between the reds and blacks. The back or red cards at this division point should be resting securely against the little finger just below the first joint. The index finger pulls the black cards toward the body just a fraction. This gives the black cards the tension necessary for the move that follows and at the same time loosens the tension on the red cards. The left hand is not shown in this photo but it remains the same as in Photo No. 1. For clearness in Photo No. 2 the two middle fingers of the right hand are shown in front of the black cards. This is not necessary, as they may be extended over the top of the cards parallel with the little finger. With the cards held as in Photo No. 2 and the cards again assuming an upright position, the right hand moves back toward the thumb of the left hand carrying all cards with it. This move will close all the red cards and will open to their fullest extent the black cards. You have now transposed a fan showing both colors into one composed of only black cards. The finish of this move and the position of the right hand at this finish is shown in Photo No. 3—Now remove the right hand to display fan. Photo No. 4 shows the right hand again assuming its proper place against the inside edge of the cards, underneath which are all the red cards in one bunch. A little pressure is now exerted against the cards with the left thumb and index finger. The middle finger of the right hand being placed against the edge of the cards, as shown, now moves 28

Illustrating Chapter Seven

30

E X H IB IT IO N CARD FANS

up a bit around the thumb of the left hand and then down to com­ plete the second part of the transposition. Photo No. 5 shows the finish of the right hand and displays a fan composed of all the red cards. The proper pressure to apply before making the red fan, also the movement of the right hand must be determined by yourself after practice. Remove the right hand and display the red fan. Photo No. 6. Examine it closely. The index finger of the right hand is curled underneath the fan and raises or pushes to partly close the red fan until the cards are closed to about the eight or nine of hearts. The index finger keeps the cards well squared up. With the cards held in this position the thumb begins to push upward against the inside edge of the cards as shown. Continue the move­ ment with the thumb, but do NOT continue pushing with the index finger as this will close the entire fan and destroy what you are striving for. The thumb now moves until the cards are all blank. Photo No. 7 shows the finish of the fan but does not show the finish of the thumb in this last move. This is determined by the performer. After a while you will detect that you are acquiring a “feel” of the cards, then you will know when the right thumb has gone its limit in this reverse movement. Watch the cards closely during this last part. When you see the cards begin to open too wide and display the printing, then it is time to quit moving the left thumb. Soon you will know just before you reach this point and stopping the thumb will become automatic.

« „ r , The Stafe Library of Victoria A L M A CONJURING COLLECTION ”

CHAPTER EIGHT Two Fans in One Hand—One Large— One Small Up to a certain point this fan is identical in every respect to “Two Fans in One Hand.” The difference in this is that one fan is much smaller than the other. The smaller fan has the appearance of dimin­ ishing cards. As a climax, the large or rear fan slowly closes, then re-opens, leaving the smaller fan intact and undisturbed. Refer to Photos 1 to 6, inclusive, of Chapter Three, “Two Fans in One Hand.” The moves for the fan about to be described are iden­ tical through the above numbered photos. Also refer to Chapter Two dealing with the closing of fan. In that chapter the proper way is shown of closing a fan. It is absolutely necessary, in making this fan, that the finger and thumb of the left hand be held in correct position. If you have mastered the closing move, you will not have any difficulty in making this fan. If not, it would be well to go back and practice until you feel that you are familiar with it. Photo No. 1 shows the front half of deck (black cards) as being pushed down toward the palm of the left hand until the top edge of the cards are just below the spots of the red cards. The thumb holds the cards about an inch from the bottom edge. Photo No. 2 shows the position of the right hand, the middle fin­ ger being placed against the inside edge of the front section of cards. The right hand held thus is moved around to the right and also around the left thumb. The left thumb acts as a pivot around which the cards revolve. Photo No. 3 shows the finish of the right hand movement and the completed double fan. Right hand has been removed for clear­ ness. Display this double fan. Photo No. 4 is the back of the double fan, as shown in No. 3. It also shows the position of the index finger and middle finger prepara­ tory to the closing of the large fan. The third finger and little finger are placed against the lower section of the cards to prevent slipping and destroying the formation. Photo No. 5 is the front view after the large fan of red cards has been closed. Photo No. 6 is a rear view of No. 5. The index finger remains practically as shown. The remaining finge: 3 begin pushing up on 31

32

E X H IB IT IO N CARD FANS

the cards from the bottom, as shown in photo, the index finger acting as a pivot. In pushing the cards from the rear, push only those cards that are directly underneath the fingers. Make no attempt to push the cards from the side as when they began to open a bit the balls of each finger will begin to gather up and push toward the left more cards. As they come out and are exposed above the black cards, the fingers can begin to shape them up. Photo No. 7 shows the pushing movement referred to above and also brings out more clearly what is meant by the balls of the fingers being able to gather up and push more cards. This photo also shows the rear fan half open. The fan now appears again as shown in Photo No. 3. Still holding the cards, as shown in No. 3, the index finger of the right hand is placed against the inside edges of both fans and is moved around to the right. Pressure is maintained against the cards with the index finger and thumb of the left hand, the move­ ment of the index finger of the right hand will close both fans, leav­ ing the cards ready for the next fan. The question has often been asked, “How can one close the rear fan, leaving the front or small fan intact?” The answer is simple. The front fan is blocked in and it is impossible to close the front fan. When you try this fan you will find it to be true.

Illustrating Chapter Eight

CHAPTER NINE Rosette and Fan The opening moves of this fan are identical with “Two Fans in One Hand,” Chapter Three. Photos 1 to 5, inclusive. By referring to the above-mentioned moves you can carry this fan up to the point of the move shown in Photo No. 1, which shows the right hand in the act of removing that half of the deck composed of the black cards. The little finger of the left hand presses against the cards held in the left hand. The cards in the right hand are pressed firmly against the cards in the left hand, the left thumb is raised sufficiently to permit the removal of the cards with the right hand. This is done by sort of dragging the black cards out with the right hand. When the cards clear the deck sufficiently to permit the left thumb to be replaced, replace the left thumb and remove the cards with the right hand entirely away from the fan of red cards. Photo No. 2 shows the cards to be removed being held by the little finger against the palm of the left hand. The second joint of the little finger is pressed firmly against the fan and the first joint of the little finger curls around the top side of the cards to hold them. The right hand has been removed from this half entirely. Photo No. 3. The right hand, instead of holding the cards with faces toward the palm, goes underneath the half to be removed and turns them over a half turn. This move is necessary to obtain con­ trast and color in the completed effect. Slide these cards under the thumb of the left hand, until the thumb is just about in the center of the backs of the cards. Photo No. 4 shows the position of the cards and hands after the half unfanned has been replaced. This also shows the start of the rosette. The index finger and middle of the right hand has been placed on top of the cards, also the thumb. Both fingers and thumb across the top of the thumb of the left hand and at right angles. This photo also shows the fingers of the right hand and thumb as having twisted the cards a bit to the right and around. You will note the thumb of the right hand has butted against the thumb of the left hand and can go no further. At this point the thumb is removed from the cards and the index finger of the right hand goes down 34

Illustrating Chapter Nine

36

E X H IB IT IO N CARD FANS

against and to the left of the thumb just below the first joint. Con­ tinue this twisting motion clockwise, bending the thumb of the left hand until the tip of it is against the cards, instead of the ball. This reduces the friction of the thumb against the cards and will enable you to get! better spacing in the rosette. Photo No. 5 shows the position of the right hand after twisting the cards around and to the right. Photo No. 6 shows the completed rosette in front of the fan of red cards, making a very beautiful effect. Also note the little finger is still held in place. If you have held the index finger in proper place at the start of this fan you may now close the rear fan, take it away from the rosette, fan it again and display the rosette and fan separately.

CHAPTER TEN

The Rising Sun In this effect the black cards are displayed in a neat fan, with faces toward audience. Suddenly a fan composed of all the red cards slowly rises from behind the black cards, until all are displayed, after which they slowly sink back into place. Photo No. 1 shows the position of the cards, also the position of the two hands. The index finger of the right hand is placed on the inside edge of the deck with the tip of the finger near the face of the deck. The finger pressing slightly against the cards is then moved around to the right, describing an arc, dragging the cards along. This move was explained in that chapter entitled “Two Fans in One Hand” and is identical with the exception that the cards are facing the audience. Be careful to get exactly half the deck in the first part of the fan. If you are using mixed decks with modernistic backs, your division point between the red and black cards will be easy to distinguish, as the different colored backs will be at the cor­ rect dividing line. After making and displaying the fan of black cards turn it sufficiently to enable you to see the faces of the cards, or, if you are using the design backs as outlined, this will not be necessary. Photo No. 2 shows the black cards in a fan after completing the move of the index finger of the right hand. Photo No. 3 shows the thumb and index finger of the right hand separating the cards at the point between the reds and blacks, also the little finger of the left hand inserted at this point. The little finger presses against the cards comprising the complete fan, this pressure being necessary to prevent the cards from slipping. Using the index finger and thumb of the right hand, the 26 rear (red) cards are turned around and to the left, the thumb of the left hand acting as a pivot. Considerable pressure is necessary against the cards with the left thumb. Photo No. 4 illustrates this. Photo No. 5 shows the right hand after being removed from the position shown in No. 4 and piaced in position against the inside edge of the cards preparatory to fanning the red cards. The right hand then moves around the thumb of the left hand. The two middle 37

38

E X H IB IT IO N CARD FANS

fingers doing practically all the work toward the formation of the fan. Photo No. 6 shows the right hand after the above move and also shows the completed fan of red cards. Photo No. 7 is a rear view of the two fans. The little finger of the left hand is held in place all the time, the right hand is placed over the top of the left thumb and is pressed against the two fans— the left thumb is removed from the cards entirely. The two fans will separate slightly at the point where the left thumb formerly was held. The right thumb goes underneath the back (red) fan, the left thumb is now placed on top of the front (black) fan. Photo No. 8. The right hand containing the fan composed of the red cards is held against the front fan and then slowly moves up­ ward, carrying the red fan up and over the top of the black fan. When the red fan has been so displayed, slowly move the right hand back down to its former position, replacing the cards in their correct position. The front fan may be closed with one hand leaving the rear fan still exposed, after which it is necessary to use the'right hand to close the red fan. All of the moves necessary, together with photos, are in that chapter describing the “Two Fans in One Hand,” the difference being that the cards are held facing the audience instead of the performer. An additional effect you may wish to try is to place a blank card on the face of the red cards, make the black fan as usual, sepa­ rate the cards at the proper point. Then—instead of carrying the cards around to the left, as shown in Photo No. 4, let them stay in exactly the same place as shown in Photo No. 3. The thumb of the right hand is then placed on the inside edge of the cards, pushing the cards upward and around with the thumb will give you a blank fan. This move is described and illustrated in the chapter dealing with the “Blank Fan.” You may now separate the two fans and cause a blank fan to rise behind the black fan. There may be some who will like this variation, hence this short description.

Illustrating Chapter Ten

CHAPTER E LE V E N

Complete Circle with Faces of Cards This move is included for those who may wish to exhibit a complete circle of cards ex­ posing' the faces. Photo No. 1 shows the cards after being spread around and to the right with the index finger of the right hand as explained in a pre­ vious chapter. After reaching this point the fingers of the right hand assume the position as shown in Photo No. 2. The thum b of the right hand is underneath the index finger and is placed against the cards on the inner border about one inch from the bottom of the cards. The left thumb is removed and goes in behind the King of Spades. Pressure is maintained by the index finger of the right hand against the fingers of the left hand which have spread out over the back of the fan. Unlike the blank fan, the cards do not come under the thum b but go over the top. That is for the completion of the fan. W ith the hands in position, the right hand now- completes the circle by pushing the re­ maining cards, with the thumb, index finger of right hand acting as a pivot, toward the left, thereby closing the gap and completing the cir­ cle. This is shown in Photo No. 3. Photo No. 4 shows the completed fan with thumb of left hand being placed on the face of the cards. The fingers are spread over the back of the fan to prevent slipping.

40

CHAPTER T W ELVE

Blank Fan—Spot Fan If you are using the suggested setup of the cards, up to this point, you will find on examination a sort of flare or division point between the red cards and black cards. This will be visible when cards are held flat in the hand, by looking at the left edge of the deck. This move is optional with the individual performer. When done, it greatly increases the value of these particular fans. With the cards held in the left hand as if to make a Charlier pass, face up, let the lower half fall down into the left hand, place a blank card on the face of the lower half, separate the two halves holding them as shown in Photo No. 1. The right hand now holds all the black cards, the left hand holding all the red cards with a blank card on the face. If you are unable to drop exactly half of the cards in the left hand, run through with the thumb of the left hand until you reach the division between the red cards and black cards. Anyway, separate the two halves. Cards are held backs toward audience. As shown in Photo No. 2, the thumbs of both hands are next moved down and placed against the faces of each half just a fraction up from the bottom edge and in the middle of the cards. The thumb of the right hand now moves to the right and the index finger of the same hand begins to move inward or toward the body, making a one-handed fan. The left hand performs the same actions in a reverse manner, also making a one-handed fan. The right hand turns around exposing a fan composed of all the black cards. The left hand is turned slowly around exposing a blank fan. This is shown in Photo No. 3. Should you experience difficulty with the left hand or blank fan in its not shaping up well, tilt the cards in the right hand until they are flat or parallel with the floor, use them for a rest or table to square up the red cards. Get them well squared up, then again place the thumb and index finger of the left hand in proper place and make the fan. If you have succeeded in making a blank fan with the exception of the blank card slipping a bit, exposing the face card of the reds, tap it lightly back in place, using the backs of the cards in the right hand. 41

42

E X H IB IT IO N C A R D F A N S

Illustrating Chapter Twelve

CHAPTER T H IRTEEN

The Blank Fan

This chapter deals with a rather unusual blank fan of large pro­ portions. At the same time those of you who are ambitious and care to go a step further will find that you will be able to stop at one point, making a large blank fan—pick it up again in your routine—and make a complete circle of cards containing no spots. In effect, two fans are combined in this chapter. Photo No. 1 shows the correct position for holding the cards, also the placing of the fingers on the deck. Photo No. 2 shows the reverse side of No. 1, the proper position of the thumb of the left hand and the proper position of the thumb of the right hand. The thumb of the right hand does practically all the formation. The thumb and index finger of the left hand exert a certain amount of pressure against the cards, and act as a pivot, around which the cards swing. Photo No. 3 shows the first stages of the fan. You will note the thumb of the right hand does not attempt to follow the cards. At the point shown in the photo the thumb of the right hand instead of pulling the cards up and around, begins to push upward until it has reached a point directly in front of the left thumb. Then the thumb of the right hand begins to twist around and down to the left. The remaining fingers of the right hand go around the outside edge of the fan without touching the cards. Photo No. 4 shows the finish of the fan with the hand still held in place. Photo No. 5 is the same as No. 4, with the right hand removed, exposing a large blank fan. Photo No. 6 is the reverse side of No. 5 and is as the audience sees it before turning it around. For those who wish to go a step further and make a complete blank circle, study Photo No. 7. In making the first part of the blank fan, strive to spread the cards to their limit in the first stages of the formation. That is, with the rear cards of the deck. This will leave quite a bunch of cards on the face of the deck at the finish of the blank fan. These you will now use. 43

44

E X H IB IT IO N CARD FANS

Again refer to Photo No. 7. You will note the thumb of the left hand has been removed from the cards entirely. The fingers of the right hand are placed against the apex of the fan, exerting sufficient pressure against the fingers of the left hand to prevent cards from slipping. With the thumb of the right hand pull down against the cards and slip them around toward the bottom of the beginning of the fan, which is directly to the right and above the little finger of the right hand. Photo No. 8 shows the finish of the right hand moves and also the thumb of the left hand again placed on the face of the cards. ' Photo No. 9 shows the completed circle, thumb in proper place and Held with one hand. Considerable pressure is necessary with the thumb against the remaining fingers of this hand. A little difficulty may be experienced at first in preventing the faces of one or two of the cards from showing. In such an event use the right hand to either slide the offending card underneath the one next to it, or move one slightly over it. In this fan a bit of dressing up is quite permissible.

Illustrating Chapter Thirteen

CHAPTER FOU RTEEN

The Giant Fan If you are planning any routine with fans and are using the setup as explained throughout this book, save this one for the last and let it serve as your climax. This is the only fan described where the cards are shuffled. If you are doing close up work, be sure to dis­ close the results of the shuffle. This is as good as the fan itself. Photo No. 1 shows the two halves separated, the inside comers of the cards held together. The thumbs of both hands are on the inside edge of the cards and in about the middle. The index fingers of both hands are held against the outside edge of the cards. The two middle fingers of both hands are on the outside edge of the cards. The little fingers of both hands are held near the inside corners of both halves. The thumbs, index fingers and middle fingers keep the cards well squared up. Tilt the two halves very slightly downward in opposite directions. -Press the two halves against each other, pressure being made with the two index fingers. You will notice the two halves will then begin to interlace. A very slight lateral movement of the two halves may be necessary to get the cards started into each other. As the cards start together the opposite ends or corners are brought together. That is, the ends or corners opposite to the starting point of the interlacing. For clearness this is also shown in Photo No. 1 and is the end or comer nearest the third finger. Photo No. 2 shows the cards interlaced with the hands still held in correct position. Photo No. 3 shows the cards held with faces toward audience just preparatory to the actual making of the giant fan. After the two halves are together, you may find one card still remaining on the upper half. Remove this card and place among those on the lower half, either front or back as the case may be. Photo No. 4 shows the right hand against the inside edge of the cards. Note particularly the little finger. The right hand now swings around and to the right, the thumb of the left hand being pressed firmly against the cards. This action if made rather fast will give you a giant fan. Photo No. 5 shows the finish of the fan with the right hand still held in position after the formation. 46

Illustrating Chapter Fourteen

48

E X H IB IT IO N CARD FANS

Photo No. 6 shows the face of the fan. Note the position of the index and middle finger. After displaying the fan, turn it around with backs again toward audience. Use the move described in “Clos­ ing a Fan” and you will be able to close this giant fan with one hand. Photo No. 7 shows the way to hold the cards after closing the giant fan, with both ends bent inward and down into the right hand. The index finger of the right hand is held underneath the cards as illustrated, and the index finger of the left hand on top. Still holding the two ends as shown, remove the right index finger. The cards will simply fly into each other with a very pretty flourish. Photo No. 8 shows the cards fanned after the shuffle. Particular attention is called to the arrangement after this shuffle. You will note the Spades and Diamonds in one half and the Clubs and Hearts in the other half. Also each card is alternately red and black through­ out the entire deck. You will also see the cards are arranged in pairs; that is, the two eights are together in one-half, the two fives, etc. The four Aces come together in the middle of the deck. You will also find the two colors of your different colored backs have come together. For example, all the red backs and all the green backs will be together. In order to get this final arrangement, it is necessary that the interlacing of the two halves at the start of the giant fan be abso­ lutely perfect. Misplaced cards lessen the effectiveness of the ar­ rangement shown in Photo No. 8.

E X H IB IT IO N C A R D F A N S

Illustrating Chapter Fifteen

49

C H A PT ER F IF T E E N

The One-Hand Fan The cards are held as shown in Photo No. 1. The left hand serves to keep the cards squared up well. The index finger of the right hand is placed on the outside corner of the cards, the thumb being placed on the inside corner. This position of the index finger and thumb will enable you to spread the cards to their maximum. The middle fingers of the right hand are placed against the cards in the center of the back of the cards. The thumb now moves to the right until it reaches a point even with the second joint of the index finger, then the thumb moves down­ ward toward the floor. The index finger in the meantime is moving in toward the body, doing exactly the same move as the thumb only in an opposite direction. Photo No. 2 shows the completed one hand fan. Difficulty may be experienced at first in assuming the positions of the thumb and index finger as outlined above. If so, it would be well to place the index finger and thumb in the center of the bottom edge of the deck. Practise with this position until you have mastered the smaller fan resulting from its use. Then you can begin to separate the thumb and finger, with relation to their position of holding the deck, and by gradually increasing the distance between thumb and finger master the art of making the one hand fan while holding the cards on their extreme corners as illustrated.

THE END

i

GOODL€TTE> DODSON

—

W ILL ALMA M.I.M.C. (LO N D O N )

By Goodlette Dodson

Published by

H. R. Hulse

924 Courtenay Drive, N. E. Atlanta, Ga., U. S. A. 1935

Copyright 1935 by H. R. Hulse

Printed in the United States 0 / A m erica First Printing February 193? Second Printing M ay 193 5 Third Printing August 1939 Fourth Printing September 1941 Fifth Printing August 1943 Sixth Printing March 1945

D ed icated to M y L o n g S u ffe rin g W ife W h o H a s H a d to W a tch M e D o These F a n s So M a n y H u n d re d s o f Tim es.

CONTENTS CHAPTER

1.

2.

PAGE

Cards M ost S u ita b le f o r F a n s — How to C are f o r t h e D e c k — Care of t h e H a n ds — M ethods to I n su r e P erfect F a n s — B eauty a n d C olor in F a n s — P erfect F a n s W it h ­ out “ S p r in g in g ”— S etup for E ffective F a n s ....................

9

T h e T w o -Handed F a n ..................................................................

13

\

3.

Two

One Hand ......................... ......................................

16

4.

T h e B uzzsaw F a n ........................................................................

20

5.

T h e S potless S pot F a n W it h t h e Travelin g K in g .........

23

6.

T he R osette ..................................................................................

26

7.

Tr ip l e Tr a n s p o s it io n ..................................................................

28

8.

Two

9.

Rosette a n d

F ans

F ans

in

One H and — One Large— One S mall..... ......

31

F a n ..........................................................................

34

10.

T h e R is in g S u n ..............................................................................

37

11.

C o m plete C irc le W it h F aces of Cards ..................................

40

12.

B lank F an — S pot F an ...............................................................

41

13.

T he

in

14.

B lank F an ............................................................................ T he Giant F an ..............................................................................

46

15.

T h e O n e -Ha n d F a n .....................................................................

49

43

EDIT OR’S INTRODUCTION It is with a great deal, of pleasure that we present to the magical fraternity this book, the first of its kind dealing with a branch of the magic art that is compara­ tively recent in its practical application as an exclusive entertainment feature. The work of editing and mechanical preparation has been arduous and exacting, but we feel that we are presenting to our brother magi a book that will enable them to add to their repertoire an act of universal appeal. Special attention has been given to making the illustrations large enough for easy comparison with the text and in the text itself grammatical construction has sometimes been sacrificed for the sake of clearness. We wish to especially thank Mr. A. L. Terry, of Atlanta, Ga., for his co-operation in reviewing the final manuscript and illustrations, in order to test by actual performance, the accuracy of the routines described. H. R. HULSE.

PREFACE Without a semblance of egotism, I feel that I may say that I am intimately acquainted with every detail of book-making except that of being the author, and while I consider it a distinction to be called upon to write the introductory matter for a book of this character, it is not possible to comply with the request without asking myself the question: “Why should a book have a Preface?” No one cares how long I have known Goodlette Dodson, nor under which sign of the Zodiac he presented his first card experiment. This book, I may say, is unusual, and its appeal should be far-reaching. Unlike other books of magic, it is not limited to the adepts of the magic art, but may, indeed, include many thousands who love the mystery to be found in a pack of cards. The remarkable photographs herein shown, along with the comprehensive descriptive matter, create a force which should qualify as superb entertainers countless numbers of individuals who possess the undeveloped faculty of dexterity. Bridge enthusiasts in great numbers should find this a most fascinating introduc­ tion to an entirely new field—a field practically unexplored—and it is wholly reasonable to .predict that future outstanding entertainers with cards may come from the ranks of those who have not been bitten by the magic bug. Intimate acquaintance with the author enables me to say that digital dexterity has not been his most brilliant achievement, and yet, within a period of effort not to be considered long and arduous, he has developed this phase of enchantment to a degree which impresses the spectator as a state of perfection. Dodson simply resolved to learn the secret of “fanning” a pack of cards, and here is the result of that resolution. My association with him throughout the greater part of this period of intensive rehearsal gave me the opportunity to see him set up any num­ ber of goals, and I know that he will never permit himself to attain the goal of perfection. As soon as one desire has been satisfied—one herculean task finished— he fixes another goal in the dim distance and pursues it with renewed vigor. As compared with that of the author, your task will be an easy one. He had no instructor, but was compelled to discover the vital positions and establish the well-timed moves for himself by the “cut-and-try” method. In this book, there are nearly one hundred remarkably clear photographs which cannot fail to carry you on to the pinnacle of success as a most unusual entertainer if you follow their guidance even with a small degree of interest. Mr. Dodson has not only released the rare secrets of all the moves, but has explained in extreme detail the best methods for obtaining the most gorgeous and spectacular color effects. Card fans readily create an atmosphere of magic, and here is a true guide for making them. T. J. C r a w f o r d (Have A Card).

FOREWORD For no apparent reason, except possibly to fonow the procedure of others who have been guilty of the same thing, a few words will probably be excused. To begin with, the difficulties incident to the publishing of a book of this character have been numerous, and at times seemed insur­ mountable. But by perseverance, love of the subject and the assist­ ance of many, we have finally accomplished our goal of putting before magicians this—the first book of its kind dealing exclusively with card fans. To the best of my knowledge, no book has heretofore contained anything of this nature, other than the usual two-handed fans, with which all magicians are familiar. To make the subject matter clear and understandable, many pho­ tographs were taken. From these the text was written, then checked by competent magicians through actual performance. In a number of instances all this had to be gone over again. We mention this to show the painstaking care with which this book has been prepared. For the contents of the book, I have no excuses to offer, no apolo­ gies to make. The material herein is to the best of my knowledge and belief original. In conclusion I wish to thank each and every one of you who have complimented me on my work with fans. Should you at first have any trouble in making them, just remember that the art of manipu­ lative magic is not acquired by simply wishing for it. The road to perfection is through work, practice and experimen­ tation. So it is with the material in this book—it is not something that you can read and then immediately do. It will require work on your part to perfect. However, the time required has been consider­ ably reduced due largely to the groundwork laid by the experimenting I have made and my experience with the subject. May you get as much pleasure out of this book as I have had in preparing it. G. DODSON. Birmingham, Ala. February 1, 1935.

The State Library of Victoria “ALMA CONJURING COLLECTION”

CHAPTER ONE Cards Most Suitable for Fans This is a very important chapter, and one which the student and card manipulator should study and remember. Many magicians have handed me decks of cards and said: “I can’t seem to fan these; what’s my trouble?” After looking at the cards I quite agreed with them. Some of the cards were so worn it was a physical impossibility to fan them. Others were so dirty it would have been a shame to desecrate a fan with them. However, the most common trouble seems to be with the cards themselves. A common fault among younger magicians is that they think any deck of cards • will fan. Nothing is further from the truth. Some cards on the market today feel and fan just as that much sandpaper would. Dis­ card this type card and try another. Experiment until you find the card that is suitable to YOU. This is not so hard, as there are several well-known brands of cards that will suit the most fastidious taste. Be sure your cards will fan before attempting to make fans. Some may prefer standard size cards, while others prefer the popular bridge size cards. Either or both are adaptable to this type of manipulation. All photographs shown herein are of the bridge size cards. After much experimenting with various brands of cards, we believe those found at the five and ten-cent stores seem to be the most suitable for all-around purposes. The chief reason for this is the wide variety of modernistic back designs. More about this later.

'

How to Care for the Deck Cards seem to be the most sensitive of all the magicians’ tools. It therefore behooves you to ,care for them as much as you would your most expensive piece of apparatus. Should they become warm, they will be very hard to fan; in some cases impossible. The same applies to their becoming too cold. In all cases they should be kept perfectly DRY. It is a good plan to take the cards out of the case as soon as you enter the place you are to perform. This will adjust them to the temperature of the room gradually and will save you some trouble and possible embarrassment later on in your program. 9

10

EXH IBIT IO N CARD FANS

Care of the Hands Should your hands become damp and sticky, do not handle your cards. Wash your hands thoroughly. If the weather is hot, let some cold water run on the arteries of your wrists for a few seconds. This will cool your hands and stop perspiration for quite a while. If you are of the type whose hands do not perspire, carry a small piece of rosin with which to rub your fingers and hands just before you do your fans. Too much rosin will cause sticky fingers. After a few times you will find just the right amount for your hands. Never put powder of any description on your hands or cards. Methods to Insure Perfect Fans IMPORTANT! If you follow the suggested setup outlined in the following pages, DO NOT attempt to fan the cards until you have your setup complete. Keep your cards one way ALWAYS and fan from one end only. If you are using a card with a modernistic or one-way back design, arrange all of the cards one way and keep them that way. Make up your mind which end you will fan from and stick to that end. The cards when fanned a few times will get set to each other and will make your task easier if you stick to fanning at one end only. Also, practically all cards have the corner suit and spot value printed closer to one side than the other. If you will set up the cards so this narrow border is exposed when you make a fan you will get a much larger display of spots when fanning for spots. Beauty and Color in Fans Many of us have overlooked the possibilities of beauty and color in card fans, being content to fan the cards with two hands or one hand, disclosing the faces of the cards and letting it go at that. This is good, but for doing exhibition card fans hardly goes far enough. To,overcome the sameness of card fans we suggest you use a bridge size card. This on account of their wide range and variety of modernistic back designs; also the many colors used in these designs will enable you to do some very beautiful work when the backs of the cards are turned toward the audience. After fanning the cards and showing the backs to get the color flash, turn the cards around and fan the other end and you will get an entirely different flash. This may seem a bit contradictory to what has been written about fanning only on one end, but if you will confine yourself to this a few7 times on each deck you will not destroy the effectiveness of the fanning qualities of the cards.

E X H IB IT IO N C A R D FA N S

11

Perfect Fans Without “Springing” Those of you who are doing card fans, especially the two-handed fan, may experience a little difficulty in mastering the move necessary to the closing of the various fans. All text books I have ever seen on the subject teach you to hold the cards squarely in the left hand, grasp the upper right corner of the cards with the fingers of the right hand and “bend” the cards, at the same time moving the right hand around and down, describing an arc. The mechanics of a two-handed fan are exactly that. ; Did you ever stop to think that this type of fan is similar in every respect to springing the cards from hand to hand except that you hold the cards? If you will analyze this “springing fan” you will see that that is exactly what it is. In this work we introduce a new position for the left hand, par­ ticularly the left index finger. We show that the springing of the cards to make a fan is not necesssary.

Setup for Effective Fans As the fans described herein are dependent on a setup for effectiveness you should thor­ oughly understand the arrangement. Presum­ ing that you have a new pack of cards at hand we will describe this setup. Face down on the table place the King of Clubs, on top of this also face down place the Queen of Clubs, next the Jack of Clubs and so on until you have all of the Club suit arranged consecutively. Next, on top of the Ace of Clubs, place the Ace of Spades, then the Deuce of Spades and so on until you have also arranged consecutively the Spade suit. This accounts for all of the black cards and the setup shows a King on the face and a King on the back, and in the center are the two Aces. Now on top of your King of Spades place the King of Hearts and arrange the Heart suit exactly the same as the Club suit. Then on top of the Heart suit arrange the Diamond suit the same as the Spade suit. The arrangement of the suits may be varied, but the object is to have the cards arranged in order and to separate the two colors, the reds

12

EXH IBIT IO N CARD FANS

from the blacks. An arrangement of this kind has been found to be ideal for exhibition fans, and if followed will enable you to bring your routine to a unique climax. The setup described above is shown in Chapter Two—“Two-Handed Fans”—Photographs 2 and 3. Use of the Mixed Deck If you are going to use modernistic design backs, select with care two decks with the same design wherein red is the predominating color and the other where green predominates, or any other contrast­ ing combination of colors. Arrange both decks according to the above suggested setup. Place the arranged four suits from each deck sepa­ rately and face down on the table. Suppose you have a green and red deck. Place to one side the Club suit from the red deck face down, now on top of that place the Spade suit from the green deck. On top of the Spades place the Hearts from the red deck and finally on top of the Hearts place the Diamond from the green deck. Arrange the other deck the same way. The effect when the backs are fanned will be found to be very effective and rather startling. This seems to be a point overlooked by many. Keep the setup intact at all times; they are never shuffled except at the finish and then in a quite pretty manner.. The two photographs accompanying this chapter show two of the many effects obtainable with the mixed deck.

CHAPTER TWO

The Two Handed Fan At first glance the two handed fan described in this chapter will appear to be similar to others described in various books on the sub­ ject of card magic. A close examination and application of the direc­ tions will soon convince one that this fan is well away from the usual two handed fan. The move to be described is a sort of “key” or “basic” move for many of the fans that are to follow. Whether you wish to master a few or all of the fans in this book, you should spend the time neces­ sary to perfect this one first. Photograph No. 1 shows the proper way to hold a pack of cards. Your attention is called to the position of the index finger and thumb of the left hand. You will notice the index finger extends slightly beyond the edge of the cards, at a point almost to the first joint. The thumb in the rear is held against the cards just tight enough to pre­ vent their slipping. Do not hold the thumb in a cramped or unnatural position. As the photo shows, the fingers of the right hand are resting rather lightly on top of the cards. The right thumb being underneath, near or on the lower right hand corner. At first the positions of the hands may appear to be rather awk­ ward; however, a little practice will soon prove otherwise. This is especially true for those who are now making the two handed fan. In the actual forming of this flourish the right hand goes around and down to the right, describing sort of an arc. Instead of springing the cards or bending the corners, loosen up a bit on the pressure and just sort of drag the cards around, down and to the right. It will surprise you how soon you will be able to discard the bending process if you have been making fans in the old manner. As the right hand begins the fan, the index finger and the second finger will be on the top right hand corner of the cards. As the fan increases in size you will find the second finger leaves the cards en­ tirely, leaving the index finger of the right hand to finish the forma­ tion. This is as it should be. The index finger continues on around until the fan is just a little better than half opened, at this point you will either twist the left hand containing the cards a bit to the 13

E X H IB IT IO N C A RD F A N S _______________

right or your index finger on the right hand will feel a bit iramped. Either twist the cards to the right, or better still, begin to turn the index finger of the right hand around until the back of this finger is on the cards, then con­ tinue making the fan with the back of the index finger of the right hand. Though this may seem a bit complicated, in actual working it will clear itself. After the actual start of the fan itself, you will find that only four fingers are used in the formation, the index finger and thumb of the left hand and the index finger and thumb of the right hand. Examine the photo again and note that the index finger of the left hand is extending slightly beyond the edge of the cards. This is important. Remember that many of the moves to follow are dependent on this one thing. Main­ tain this position. D O N O T move th is finger. Keep at it until you master it. This point can­ not be too strongly stressed. Photograph No. 2 shows the completed fan with the index finger held as outlined above. You will feel, directly under and against the ball of this finger, the edges of the cards. Prac­ tice this until you are able to^detect the corners of the cards in a sort of “lump.” The index finger being held properly, the thumbs of both hands in proper position, prevent the cards from spreading too much and hold the cards in proper position for closing. Photo No. 3 shows the index finger moved down on the fact of the cards, the second finger being moved up to position formerly occupied by the index finger. To do this the second fin­ ger is brought up directly against the index finger. The second finger exerts sufficient pressure against the cards to prevent slipping. You may now lift your index finger and bring it down on the face of the cards as shown in the photograph.

E X H IB IT IO N CARD FANS

15

You now exert pressure again with the index finger to allow free movement of the second finger. The second finger is next moved down until you feel the edges of the cards at the corner or the apex of the fan. This is the point formerly occupied by index finger. The second finger now pulls down against the corners, the index finger loosening up a bit on its pressure. By a downward movement of the second finger you will find the fan will close completely. The tip of the index finger should be held against the face of the cards, instead of the ball of the first joint. As the fan closes you will notice a little friction on the first card. It will have a tendency not to close with the remainder of the cards due to the pressure necessary to prevent the cards from slipping. This can be overcome. As the fan closes, begin to slowly crook the index finger until the finger nail is directly against the face card. You may then maintain the necessary pressure against the cards and at the same time eliminate any friction that prevents the face card from closing with the remainder of the fan. If this is not done, you will find one card will remain upright almost at right angles to the deck. Photo no. 4 shows the finish of the closing. You will notice the index finger is almost in the palm of the hand. At first the closing will be a bit jerky. You may think you will have to move the left hand considerably to get the cards started closing. Practice on your part will eliminate any jerky movements of the left hand and you will be able to close this fan with a beautiful flourish and finish to your two handed fan.

CHAPTER T H REE

Two Fans in One Hand In the entire realm of fan making, this is one of the prettiest and most effective fans one can make. Its finish or rather semi-finish is very startling to the uninitiated. The cards are held and the hands assume the same position as for making the two handed fan, keeping the index finger of the left hand in position as described. In Photo No. 1 the position of the right is not exactly as it should be. This is done to emphasize the position of the index finger of the right hand. In addition to the position of this finger, the two middle fingers of the right hand are placed on top of the deck near the upper right hand corner, the little finger is placed against the sides or the right hand edge of the cards. These fingers merely serve to keep the cards well squared up and in no way do any actual work in the making of the fan. This you will see once you try this fan—the actual position of the entire hand being shown in Photo No. 1-A, which shows the cards as they appear from the audience. Photo No. 2 shows the index finger of the right hand after making the first fan, which is composed entirely of red cards. (See Chapter One, “Setup for Effective Fans.”) The index finger being held against the left side of the cards, it now comes around and down to the right, making an arc, and being kept against the sides of the cards during the process. In this move attempt to get only the red cards or exactly half of the deck. This is one move that is very hard to explain. How can you get just half the deck with the index finger of the right hand? The answer is, try it and keep trying it until you find you have done what at first seemed almost impossible. You will find it fairly easy to master after you have tried it a few times. Don’t get discouraged. Eyesight and timing play an important part. Photo No. 8 shows the thumb of the right hand separating the cards at the point between the red and black cards. Pressure being maintained at all times with the thumb and index finger to prevent slipping. Photo No. 4 shows the little finger of the left hand inserted at the point or break between the two sections. Hold the thumb of the right hand as shown in Photo No. 3 until you have inserted the 16

______________ EXHIBITION CARD FANS little finger as shown in Photo No. 4. Photo No. 5 shows the thumb and index finger of the right hand holding the remaining half of the cards preparatory to twisting them to the extreme left side of the red fan. The little finger is kept in position as shown in Photo No. 4. Photo No. 6 shows the cards after the right hand has twisted or carried them to the left of the red fan. You now remove your right hand. Photo No. 7 shows the position of the right hand after releasing the cards. The fingers of the right hand are held against the thumb of the left hand. The right hand fingers are placed rather loosely against the cards. As shown in Photo No. 8, you now twist the cards around to the right and down, dis­ playing a fan consisting of all the black cards. The fan containing the red cards is behind the black fan and completely covered. Photo No. 9 shows in an exaggerated way a division between the two fans. After making the double or two fans, pressure is applied to the cards as follows: The fingers of the right hand without changing position press against the face of the black fan. The fingers of the left hand press against the back of the cards. This pressure from both sides of the cards brings the bottom of the two fans up about half an inch or rather separates them about that much. While pressure is still maintained, fingers of the right hand spread just a fraction to prevent slipping of the front fan. Remove the thumb of the left hand from the face of the front or black fan. Insert the thumb of the left hand at the division point and place it on top of the lower or red fan. The thumb of the right hand now goes underneath the top or black fan. You now separate the two fans, disclosing a

18

EXH IBIT IO N CARD FANS

fan consisting of all the red cards in your left hand, a fan consisting of all the black cards in your right hand. You should still be holding the position of the index finger of the left hand. Display the two fans to suit your fancy, finally bringing the two close together, with the red fan slightly above and behind the black fan. By using the method as outlined in “The Two-Handed Fan” you may now close the red fan behind the black fan, making a very pretty finish to a most unusual fan. Photo No. 10 shows the two fans separated and is shown to give you an idea of the two fans. After closing the red fan, bring the two sections of cards together again, being careful to get them to­ gether as they were before the separation. If you are using a one way back design, this will be easy. Standard cards should be marked to distinguish which end you are fanning.

Illustrating Chapter Three

CHAPTER FOUR The “Buzzsaw Fan” Here is a fan that will provide a touch of comedy in your far routine. The mechanics of the actual making are unusual, the change or transposition is unusual, and it is always good for a laugh. Photo No. 1 shows the two-handed fan, with the index finger of the left hand held in place. Cards are fanned with faces toward the audience and directly in front of you. Display this fan for a moment. Photo No. 2. W ith the index finger of the right hand separate the cards at the division between the red and black cards. Pull the cards at division point toward you. If you have followed the setup as suggested, you will find the division point as being at the King of Spades and the King of Hearts. Take hold of the King of Hearts and, without disturbing the fan, still hold the King of Hearts with the tip of the index finger of the right hand and simply bring the finger toward the body about half an inch. This will give you a good separation. Extend the fingers of the right hand, except the index finger, directly out in front so the two middle fingers extend over the top edge of the black cards. Lower the little finger just a bit, now move the hand to the left until your little finger comes in contact with the dividing point between the red and black cards. The black cards should rest at a point between the first and second joints of the little finger. W ith the exception of the index finger the fingers are held straight out and at right angles to the cards themselves. W ith the cards held as explained, the right hand moves to the left in a snappy manner. Photo No. 3 will give you a clearer idea of the action. These movements will close half of the fan, which includes the black cards and at the same time open to a much larger extent the half contain­ ing the red cards. Photo No. 3 also shows the index fnger of the left hand moved down slightly from the corners of the cards, which is necessary for­ th e move that follows: Photo No. 4 shows the red cards in a fan after the right hand has been removed and the black cards all being in one section to themselves after being closed. 20

Illustrating Chapter Four

22

EXH IBIT IO N CARD FANS

Photo No. 5 is a rear view of the cards as they appear in No. 4. Remember all the black cards are together. This gives you twentysix cards exposed in a fan and twenty-six cards ready to fan. From the rear, as shown in No. 5, the cards not fanned are at your left, with the right hand in position. The second finger of the right hand is placed against the edge of the cards comprising the twenty-six that are not fanned. The index finger of the left hand has moved down very slightly on the face of the cards in front. This finger is to act as a pivotal point. W ith the second finger of the right hand held against the edge of the cards, slowly twist the cards to the right and down a little, maintaining the shape of the fan. To do this loosen up a bit on the pressure you have maintained with the thumb and index finger of the left hand. These movements close the red fan previously displayed and will at the same time open the 26 cards in a fan, thereby simulating the action of a buzzsaw. Photo No. 6 shows the finish of this transposition fan. Index finger is held as shown in photo, the second finger now moves up beside it as explained in the one-hand fan and you can now close the black fan. The effect of the above moves is as follows: A two-handed fan displaying all the cards with the two colors separated, half of the fan closed displaying a fan containing only the red cards, this fan closed displaying only the black cards and finally closing the last fan, leaving the cards in your hand all neatly arranged and ready for the next fan.

CHAPTER FIV E The Spotless Spot Fan with the Traveling King When first this fan is made it is a blank fan; that is, no spots or pips are visible; then the fan suddenly and visibly changes to one containing all the black cards, and the king rises up behind the fan and travels to the bottom. To prepare, place a blank card on the face of the deck. Photo No. 1 shows the correct position of the left hand. Notice the position of the thumb and index finger. When assuming this position be careful not to get the hand in a strained or cramped position. The cards are held rather loosely, just how much you will be able to determine for yourself after a short bit of practice. After you get the feel of the cards you will be able to do this neatly. Photo No. 2 shows the cards as being held directly in front of you. This is optional. The right hand is placed on the cards as shown and in exactly the position as shown. The right hand with fingers held properly is slowly moved to the right and then in toward the body, just sort of dragging the cards in a circular motion. Photo No. 3. The middle finger does all of the work, index finger and thumb of right hand is used principally to keep the cards well square before the movement of the middle finger. As the cards begin to open, the middle finger gradually assumes a sort of beveled position; that is, not square against the sides of the cards. Continue the movement until the cards are open to their fullest extent, which will be in the crotch of the thumb and first finger of the left hand. Do not attempt to open the entire deck of cards but confine the opening to half the cards, which is the red cards. As the fan is gradually opened, the left hand makes about a quarter turn upward; that is,* the palm of the left hand instead of facing the floor turns until it is facing the audience. The right hand follows this movement at the same time the fan is being made, the hands assuming position as in Photo No. 4. Remove the right hand and display the large blank fan. Photo No. 4 also shows the position of the right hand after dis­ playing this “spotless” fan. The middle finger of the right hand is placed against the edge of the cards and is pressed against this edge rather tightly. The right hand, with pressure maintained with 23

24

EXH IBIT IO N CARD FANS

the middle finger, moves up a little and around the thumb of the left hand in a swinging circular motion. The fact that in making the blank fan you used only half of the deck leaves the other half (black cards) in a bunch on the face of the blank fan. As your right hand swings up and around the thumb of the left hand (with pressure maintained on the cards with the middle finger), this movement will naturally bring out and expose the black cards. I f done rather fast, this visible change will be quite startling. Photo No. 5 shows the cards after the above moves have been made and before the right hand is removed. If you wish, the blank card may be removed at this point by simply jerking it out with the fingers of the right hand. Photo No. 6 is a rear or performer’s view of the cards when held as in No. 5. Note the blank fan is still behind your now black fan on the face of the deck. The audience never sees the backs of the cards from this point on. Photo No. 7. Note carefully. This shows the rear or blank fan closed. It is necessary to change the position of the index finger of the left hand slightly. It is moved to or about the position as shown in photo. Pressure on the cards is maintained with the index finger and thumb. Wit,h the two middle fingers of the left hand close the blank fan by pushing the cards back toward the index finger, letting them rest at the base of the index finger. W ith the edges of the cards resting securely against the base of the index finger you now apply enough pressure with the thumb to hold them securely at this point. You now lift up your index finger and— Photo No. 8— with the second finger slide up the back card (King of Diamonds), then using the third finger as a leverage point, the second finger and little finger moves this card up over the top of the fan. The third finger pushes up a bit and the little finger pushes or moves down. The photo shows the position of this rising card after it has been raised over the top edge of the fan. * Photo No. 9 shows the cards as the audience sees them. Continue the above movements and the card will travel down to the bottom of the fan. Reverse the movements and the card will return to its normal position in the deck. Immediately following the return of this card the index finger assumes the position as explained under “Closing the Fan,” in Chap­ ter Two. The rest of the fingers square up the cards in the back. You may now close the black fan and be ready for your next fan.

Illustrating Chapter Five

CHAPTER S IX

The Rosette The Rosette is a very beautiful fan or flourish and most manipu­ lators are fam iliar with it and probably know one or more methods of making it. The method described herein is a distinct departure from the usual moves and is well worth learning. Of all methods we have seen of making the Rosette, this is the fastest and is prac­ tically imperceptible when done rapidly. Photo No. 1 shows the correct position of the hands when holding the deck. You will note the middle finger of the right hand is placed in the center of the deck a short distance from the upper edge. The thum b of the right hand occupies the same position on the back of the deck. The index finger of the left hand is placed in the center of the deck just a small distance up from the bottom edge. The thumb of the left hand occupies the same relative position on the back of the deck. Sufficient pressure is exerted to prevent the cards from slipping. As the position of the two fingers of both hands is important, it m ight be well to mention that if you have the deck set up according to the suggestions previously made you have a King of Clubs on the face of the deck. On this card ju st inside the border and in the middle of the card the King is holding aloft a sword in his hand. I f you will place the thumbs of both hands on the back of the deck at a point occupied by each hand of the King and the fingers as explained above you will have the correct position. Photo No. 2 shows the rosette half completed. The middle finger of the right hand is pushed up just a fraction and to the left. The thumb of the right hand is pulled down ju st a fraction and to the right. The middle finger of the right hand and the thumb of the same hand move opposite to each other. The index finger of the left hand up and to the right, at the same time the thumb of the left hand pushes up just a fraction and to the left. All of these moves must blend together as one. These movements are continued until the thumbs and fingers of both hands have made a quarter turn, moving in opposite directions. A t this point, still holding the thumbs and fingers of both hands as explained, the thumbs and fingers sim­ ply push the cards very fast, thus completing the Rosette as shown in Photo No. 3. 26

__________________E XH IB IT IO N CARD FANS To further explain what is meant by this “pushing” motion, Photo No. 4 was taken. In photo only two cards are used to illustrate the move. Just a fraction before the hands reach the position, as shown in this photo, push the thum b of the right hand toward the palm of the left hand, and the thumb of the left hand is pushed toward the palm of the right. The middle finger of the right hand is pushed to­ ward the index finger of the left hand and at a point so it will finally come to rest parallel and on top of the index finger of the left hand. The index finger of the left hand is, at the same time, pushed toward the middle finger of the right hand so it will finally come to rest under and parallel to the middle finger of the right hand. In first practicing these moves it m ight be well to start with two cards only so you will be able to get the feel and blend all the moves together. Sufficient pressure on and against the cards will be determined in actual practice. Examine Photo No. 3. You will notice the index finger of the right hand and the middle finger of the left hand on the cards. These in no way have any actual part in the formation of the fan and are placed there after the cards reach this point, merely to steady them to pre­ vent slipping. Although not as elaborate as some of the other fans, the speed with which it can be made makes it a really effective and pleasing routine.

CHAPTER SEVEN

Triple Transposition Effect: The regular two-handed fan is made after placing a blank card on the face of the deck, cards are separated at the point between the red and black cards, with the fingers of the right hand, movements made to the left closing the half fan of red cards, leaving the black cards composing the entire fan. Right hand now twists the cards to the right, the black fan closes and is replaced by all the red cards. The right hand now reverses the cards and the red fan is replaced by a blank fan. Photo No. 1 shows the usual two-handed fan with a blank card on the face of the deck. Make this fan as neatly as possible without the cards slipping down in the hand. Photo No. 2 shows the deck tilted toward you with the fingers of the right hand dividing the cards at the point between the reds and blacks. The back or red cards at this division point should be resting securely against the little finger just below the first joint. The index finger pulls the black cards toward the body just a fraction. This gives the black cards the tension necessary for the move that follows and at the same time loosens the tension on the red cards. The left hand is not shown in this photo but it remains the same as in Photo No. 1. For clearness in Photo No. 2 the two middle fingers of the right hand are shown in front of the black cards. This is not necessary, as they may be extended over the top of the cards parallel with the little finger. W ith the cards held as in Photo No. 2 and the cards again assuming an upright position, the right hand moves back toward the thumb of the left hand carrying all cards with it. This move will close all the red cards and will open to their fullest extent the black cards. You have now transposed a fan showing both colors into one composed of only black cards. The finish of this move and the position of the right hand at this finish is shown in Photo No. 3— Now remove the right hand to display fan. Photo No. 4 shows the right hand again assuming its proper place against the inside edge of the cards, underneath which are all the red cards in one bunch. A little pressure is now exerted against the cards with the left thumb and index finger. The middle finger of the right hand being placed against the edge of the cards, as shown, now moves 28 .

Illustrating Chapter Seven

30

EXH IBIT IO N CARD FANS

up a bit around the thumb of the left hand and then down to com­ plete the second part of the transposition. Photo No. 5 shows the finish of the right hand and displays a fan composed of all the red cards. The proper pressure to apply before making the red fan, also the movement of the right hand must be determined by yourself after practice. Remove the right hand and display the red fan. Photo No. 6. Examine it closely. The index finger of the right hand is curled underneath the fan and raises or pushes to partly close the red fan until the cards are closed to about the eight or nine of hearts. The index finger keeps the cards well squared up. W ith the cards held in this position the thumb begins to push upward against the inside edge of the cards as shown. Continue the move­ ment with the thumb, but do NOT continue pushing with the index finger as this will close the entire fan and destroy what you are striving for. The thumb now moves until the cards are all blank. Photo No. 7 shows the finish of the fan but does not show the finish of the thumb in this last move. This is determined by the performer. After a while you will detect that you are acquiring a “feel” of the cards, then you will know when the right thumb has gone its limit in this reverse movement. Watch the cards closely during this last part. When you see the cards begin to open too wide and display the printing, then it is time to quit moving the left thumb. Soon you will know just before you reach this point and stopping the thumb will become automatic.

CHAPTER EIGHT

Two Fans in One Hand—One Large—One Small Up to a certain point this fan is identical in every respect to “Two Fans in One Hand.” The difference in this is that one fan is much smaller than the other. The smaller fan has the appearance of dimin­ ishing cards. As a climax, the large or rear fan slowly closes, then re-opens, leaving the smaller fan intact and undisturbed. Refer to Photos 1 to 6, inclusive, of Chapter Three, “Two Fans in One Hand.” The moves for the fan about to be described are iden­ tical through the above numbered photos. Also refer to Chapter Two dealing with the closing of fan. In that chapter the proper way is shown of closing a fan. It is absolutely necessary, in making this fan, that the finger and thumb of the left hand be held in correct position. I f you have mastered the closing move, you will not have any difficulty in making this fan. I f not, it would be well to go back and practice until you feel that you are fam iliar with it. Photo No. 1 shows the front half of deck (black cards) as being pushed down toward the palm of the left hand until the top edge of the cards are just below the spots of the red cards. The thumb holds the cards about an inch from the bottom edge. Photo No. 2 shows the position of the right hand, the middle fin­ ger being placed against the inside edge of the front section of cards. The right hand held thus is moved around to the right and also around the left thumb. The left thumb acts as a pivot around which the cards revolve. Photo No. 3 shows the finish of the right hand movement and the completed double fan. Right hand has been removed for clear­ ness. Display this double fan. Photo No. 4 is the back of the double fan, as shown in No. 3. It also shows the position of the index finger and middle finger prepara­ tory to the closing of the large fan. The third finger and little finger are placed against the lower section of the cards to prevent slipping and destroying the formation. Photo No. 5 is the front view after the large fan of red cards has been closed. Photo No. 6 is a rear view of No. 5. The index finger remains practically as shown. The remaining fingers begin pushing up on 31

32

EXH IBIT IO N CARD FANS

the cards from the bottom, as shown in photo, the index finger acting as a pivot. In pushing the cards from the rear, push only those cards that are directly underneath the fingers. Make no attempt to push the cards from the side as when they began to open a bit the balls of each finger will begin to gather up and push toward the left more cards. As they come out and are exposed above the black cards, the fingers can begin to shape them up. Photo No. 7 shows the pushing movement referred to above and also brings out more clearly what is meant by the balls of the fingers being able to gather up and push more cards. This photo also shows the rear fan half open. The fan now appears again as shown in Photo No. 3. Still holding the cards, as shown in No. 3, the index finger of the right hand is placed against the inside edges of both fans and is moved around to the right. Pressure is maintained against the cards with the index finger and thumb of the left hand, the move­ ment of the index finger of the right hand will close both fans, leav­ ing the cards ready for the next fan. The question has often been asked, “How can one close the rear fan, leaving the front or small fan intact?” The answer is simple. The front fan is blocked in and it is impossible to close the front fan. When you try this fan you will find it to be true.

iPlk'l Illustrating Chapter Eight

CHAPTER N IN E Rosette and Fan The opening moves of this fan are identical with “Two Fans in One Hand,” Chapter Throe. Photos 1 to 5, inclusive. By referring to the above-mentioned moves you can carry this fan up to the point of the move shown in Photo No. 1, which shows the right hand in the act of removing that half of the deck composed of the black cards. The little finger of the left hand presses against the cards held in the left hand. The cards in the right hand are pressed firmly against the cards in the left hand, the left thumb is raised sufficiently to permit the removal of the cards with the right hand. This is done by sort of dragging the black cards out with the right hand. When the cards clear the deck sufficiently to permit the left thumb to be replaced, replace the left thumb and remove the cards with the right hand entirely away from the fan of red cards. Photo No. 2 shows the cards to be removed being held by the little finger against the palm of the left hand. The second joint of the little finger is pressed firmly against the fan and the first joint of the little finger curls around the top side of the cards to hold them. The right hand has been removed from this half entirely. Photo No. 3. The right hand, instead of holding the cards with faces toward the palm, goes underneath the half to be removed and turns them over a half turn. This move is necessary to obtain con­ trast and color in the completed effect. Slide these cards under the thumb of the left hand, until the thumb is just about in the center of the backs of the cards. Photo No. 4 shows the position of the cards and hands after the half unfanned has been replaced. This also shows the start of the rosette. The index finger and middle of the right hand has been placed on top of the cards, also the thumb. Both fingers and thumb across the top of the thumb of the left hand and at right angles. This photo also shows the fingers of the right hand and thumb as having twisted the cards a bit to the right and around. You will note the thumb of the right hand has butted against the thumb of the left hand and can go no further. A t this point the thumb is removed from the cards and the index finger of the right hand goes down 34

Illustrating Chapter Nine

36

E XH IBIT IO N CARD FANS

against and to the left of the thumb just below the first joint. Con­ tinue this twisting motion clockwise, bending the thumb of the left hand until the tip of it is against the cards, instead of the ball. This reduces the friction of the thumb against the cards and will enable you to get better spacing in the rosette. Photo No. 5 shows the position of the right hand after twisting the cards around and to the right. Photo No. 6 shows the completed rosette in front of the fan of red cards, making a very beautiful effect. Also note the little finger is still held in place. If you have held the index finger in proper place at the start of this fan you may now close the rear fan, take it away from the rosette, fan it again and display the rosette and fan separately.

CHAPTER TEN The Rising Sun In this effect the black cards are displayed in a neat fan, with faces toward audience. Suddenly a fan composed of all the red cards slowly rises from behind the black cards, until all are displayed, after which they slowly sink back into place. Photo No. 1 shows the position of the cards, also the position of the two hands. The index finger of the right hand is placed on the inside edge of the deck with the tip of the finger near the face of the deck. The finger pressing slightly against the cards is then moved around to the right, describing an arc, dragging the cards along. This move was explained in that chapter entitled “Two Fans in One Hand” and is identical with the exception that the cards are facing the audience. Be careful to get exactly half the deck in the first part of the fan. If you are using mixed decks with modernistic backs, your division point between the red and black cards will be easy to distinguish, as the different colored backs will be at the cor­ rect dividing line. After making and displaying the fan of black cards turn it sufficiently to enable you to see the faces of the cards, or, if you are using the design backs as outlined, this will not be necessary. Photo No. 2 shows the black cards in a fan after completing the move of the index finger of the right hand. Photo No. 3 shows the thumb and index finger of the right hand separating the cards at the point between the reds and blacks, also the little finger of the left hand inserted at this point. The little finger presses against the cards comprising the complete fan, this pressure being necessary to prevent the cards from slipping. Using the index finger and thumb of the right hand, the 26 rear (red) cards are turned around and to the left, the thumb of the left hand acting as a pivot. Considerable pressure is necessary against the cards with the left thumb. Photo No. 4 illustrates this. Photo No. 5 shows the right hand after being removed from the position shown in No. 4 and placed in position against the inside edge of the cards preparatory to fanning the red cards. The right hand • then moves around the thumb of the left hand. The two middle 37

38

E X H IB ITION CARD FANS____________________

fingers doing practically all the work toward the formation of the fan. Photo No. 6 shows the right hand after the above move and also shows the completed fan of red cards. Photo No. 7 is a rear view of the two fans. The little finger of the left hand is held in place all the time, the right hand is placed over the top of the left thumb and is pressed against the two fans— the left thumb is removed from the cards entirely. The two fans will separate slightly at the point where the left thumb formerly was held. The right thumb goes underneath the back (red) fan, the left thumb is now placed on top of the front (black) fan. Photo No. 8. The right hand containing the fan composed of the red cards is held against the front fan and then slowly moves up­ ward, carrying the red fan up and over the top of the black fan. When the red fan has been so displayed, slowly move the right hand back down to its former position, replacing the cards in their correct position. The front fan may be closed with one hand leaving the rear fan still exposed, after which it is necessary to use the right hand to close the red fan. All of the moves necessary, together with photos, are in that chapter describing the “Two Fans in One Hand,” the difference being that the cards are held facing the audience instead of the performer. An additional effect you may wish to try is to place a blank card on the face of the red cards, make the black fan as usual, sepa­ rate the cards at the proper point. Then— instead of carrying the cards around to the left, as shown in Photo No. 4, let them stay in exactly the same place as shown in Photo No. 3. The thumb of the right hand is then placed on the inside edge of the cards, pushing the cards upward and around with the thumb will give you a blank fan. This move is described and illustrated in the chapter dealing with the “Blank Fan.” You may now separate the two fans and cause a blank fan to rise behind the black fan. There may be some who will like this variation, hence this short description.

Illustrating Chapter Ten

CHAPTER ELEVEN

**

Complete Circle with Faces of Cards This move is included for those who may wish to exhibit a complete circle of cards ex­ posing the faces. Photo No. 1 shows the cards after being spread around and to the right with the index finger of the right hand as explained in a pre­ vious chapter. After reaching this point the fingers of the right hand assume the position as shown in Photo No. 2. The thumb of the right hand is underneath the index finger and is placed against the cards on the inner border about one inch fro m the bottom of the cards. The left thumb is removed and goes in behind the King of Spades. Pressure is maintained by the index finger of the right hand against the fingers of the left hand which have spread out over the back of the fan. Unlike the blank fan, the cards do not come under the thumb but go over the top. That is for the completion of the fan. W ith the hands in position, the right hand now completes the circle by pushing the re­ maining cards, with the thumb, index finger of right hand acting as a pivot, toward the left, thereby closing the gap and completing the cir­ cle. This is shown in Photo No. 3. Photo No. 4 shows the completed fan with thumb of left hand being placed on the face of the cards. The fingers are spread over the back of the fan to prevent slipping.

40

CHAPTER TW ELVE

Blank Fan— Spot Fan I f you are using the suggested setup of the cards, up to this point, you will find on examination a sort of flare or division point between the red cards and black cards. This will be visible when cards are held flat in the hand, by looking at the left edge of the deck. This move is optional with the individual performer. When done, it greatly increases the value of these particular fans. W ith the cards held in the left hand as if to make a Charlier pass, face up, let the lower half fall down into the left hand, place a blank card on the face of the lower half, separate the two halves holding them as shown in Photo No. 1. The right hand now holds all the black cards, the left hand holding all the red cards with a blank card on the face. If you are unable to drop exactly half of the cards in the left hand, run through with the thumb of the left hand until you reach the division between the red cards and black cards. Anyway, separate the two halves. Cards are held backs toward audience. As shown in Photo No. 2, the thumbs of both hands are next moved down and placed against the faces of each half just a fraction up from the bottom edge and in the middle of the cards. The thumb of the right hand now moves to the right and the index finger of the same hand begins to move inward or toward the body, making a one-handed fan. The left hand performs the same actions in a reverse manner, also making a one-handed fan. The right hand turns around exposing a fan composed of all the black cards. The left hand is turned slowly around exposing a blank fan. This is shown in Photo No. 3. Should you experience difficulty with the left hand or blank fan in its not shaping up well, tilt the cards in the right hand until they are flat or parallel with the floor, use them for a rest or table to square up the red cards. Get them well squared up, then again place the thumb and index finger of the left hand in proper place and make the fan. I f you have succeeded in making a blank fan with the exception of the blank card slipping a bit, exposing the face card of the reds, tap it lightly back in place, using the backs of the cards in the right hand. 41

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EXH IBIT IO N CARD FANS

Illustrating Chapter Twelve

CHAPTER THIRTEEN The Blank Fan This chapter deals with a rather unusual blank fan of large pro­ portions. A t the same time those of you who are ambitious and care to go a step further will find that you will be able to stop at one point, making a large blank fan— pick it up again in your routine— and make a complete circle of cards containing no spots. In effect, two fans are combined in this chapter. Photo No. 1 shows the correct position for holding the cards, also the placing of the fingers on the deck. Photo No. 2 shows the reverse side of No. 1, the proper position of the thumb of the left hand and the proper position of the thumb of the right hand. The thumb of the right hand does practically all the formation. The thumb and index finger of the left hand exert a certain amount of pressure against the cards, and act as a pivot, around which the cards swing. Photo No. 3 shows the first stages of the fan. You will note the thumb of the right hand does not attempt to follow the cards. At the point shown in the photo the thumb of the right hand instead of pulling the cards up and around, begins to push upward until it has reached a point directly in front of the left thumb. Then the thumb of the right hand begins to twist around and down to the left. The remaining fingers of the right hand go around the outside edge of the fan without touching the cards. Photo No. 4 shows the finish of the fan with the hand still held in place. Photo No. 5 is the same as No. 4, with the right hand removed, exposing a large blank fan. Photo No. 6 is the reverse side of No. 5 and is as the audience sees it before turning it around. For those who wish to go a step further and make a complete blank circle, study Photo No. 7. In making the first part of the blank fan, strive to spread the cards to their lim it in the first stages of the formation. That is, with the rear cards of the deck. This will leave quite a bunch of cards on the face of the deck at the finish of the blank fan. These you will now use. 43

44

E XH IBIT IO N CARD FANS

Again refer to Photo No. 7. You will note the thumb of the left hand has been removed from the cards entirely. The fingers of the right hand are placed against the apex of the fan, exerting sufficient pressure against the fingers of the left hand to prevent cards from slipping. W ith the thumb of the right hand pull down against the cards and slip them around toward the bottom of the beginning of the fan, which is directly to the right and above the little finger of the right hand. Photo No. 8 shows the finish of the right hand moves and also the thumb of the left hand again placed on the face of the cards. Photo No. 9 shows the completed circle, thumb in proper place and held with one hand. Considerable pressure is necessary with the thumb against the remaining fingers of this hand. A little difficulty may be experienced at first in preventing the faces of one or two of the cards from showing. In such an event use the right hand to either slide the offending card underneath the one next to it, or move one slightly over it. In this fan a bit of dressing up is quite permissible.

Illustrating Chapter Thirteen

CHAPTER FOURTEEN The Giant Fan If you are planning any routine with fans and are using the setup as explained throughout this book, save this one for the last and let it serve as your climax. This is the only fan described where the cards are shuffled. I f you are doing close up work, be sure to dis­ close the results of the shuffle. This is as good as the fan itself. Photo No. 1 shows the two halves separated, the inside corners of the cards held together. The thumbs of both hands are on the inside edge of the cards and in about the middle. The index fingers of both hands are held against the outside edge of the cards. The two middle fingers of both hands are on the outside edge of the cards. The little fingers of both hands are held near the inside corners of both halves. The thumbs, index fingers and middle fingers keep the cards well squared up. Tilt the two halves very slightly downward in opposite directions. Press the two halves against each other, pressure being made with the two index fingers. You will notice the two halves will then begin to interlace. A very slight lateral movement of the two halves may be necessary to get the cards started into each other. As the cards start together the opposite ends or corners are brought together. That is, the ends or corners opposite to the starting point of the interlacing. For clearness this is also shown in Photo No. 1 and is the end or corner nearest the third finger. Photo No. 2 shows the cards interlaced with the hands still held in correct position. Photo No. 3 shows the cards held with faces toward audience just preparatory to the actual making of the giant fan. After the two halves are together, you may find one card still remaining on the upper half. Remove this card and place among those on the lower half, either front or back as the case may be. Photo No. 4 shows the right hand against the inside edge of the cards. Note particularly the little finger. The right hand now swings around and to the right, the thumb of the left hand being pressed firmly against the cards. This action if made rather fast will give you a giant fan. Photo No. 5 shows the finish of the fan with the right hand still held in position after the formation. 46

Illustrating Chapter Fourteen

48

EXH IBIT IO N CARD FANS

Photo No. 6 shows the face of the fan. Note the position of the index and middle finger. After displaying the fan, turn it around with backs again toward audience. Use the move described in “Clos­ ing a Fan” and you will be able to close this giant fan with one hand. Photo No. 7 shows the way to hold the cards after closing the giant fan, with both ends bent inward and down into the right hand. The index finger of the right hand is held underneath the cards as illustrated, and the index finger of the left hand on top. Still holding the two ends as shown, remove the right index finger. The cards will simply fly into each other with a very pretty flourish. Photo No. 8 shows the cards fanned after the shuffle. Particular attention is called to the arrangement after this shuffle. You will note the Spades and Diamonds in one half and the Clubs and Hearts in the other half. Also each card is alternately red and black through­ out the entire deck. You will also see the cards are arranged in pairs; that is, the two eights are together in one-half, the two fives, etc. The four Aces come together in the middle of the deck. You will also find the two colors of your different colored backs have come together. For example, all the red backs and all the green backs will be together. In order to get this final arrangement, it is necessary that the interlacing of the two halves at the start of the giant fan be abso­ lutely perfect. Misplaced cards lessen the effectiveness of the ar­ rangement shown in Photo No. 8.

E X H IB IT IO N CARD FANS

Illustrating Chapter Fifteen

49

CHAPTER F IF T E E N

The One-Hand Fan The cards are held as shown in Photo No. 1. The left hand serves to keep the cards squared up well. The index finger of the right hand is placed on the outside corner of the cards, the thumb being placed on the inside corner. This position of the index finger and thumb will enable you to spread the cards to their maximum. The middle fingers of the right hand are placed against the cards in the center of the back of the cards. The thumb now moves to the right until it reaches a point even with the second joint of the index finger, then the thumb moves down­ ward toward the floor. The index finger in the meantime is moving in toward the body, doing exactly the same move as the thumb only in an opposite direction. Photo No. 2 shows the completed one hand fan. Difficulty may be experienced at first in assuming the positions of the thumb and index finger as outlined above. I f so, it would be well to place the index finger and thumb in the center of the bottom edge of the deck. Practise with this position until you have mastered the smaller fan resulting from its use. Then you can begin to separate the thumb and finger, with relation to their position of holding the deck, and by gradually increasing the distance between thumb and finger master the art of making the one hand fan while holding the cards on their extreme corners as illustrated.

THE E N D