Royal Road To Card Magic Pdf Free ((LINK))
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Some negative aspect would be the magically appearance of the legendary egg. I'm all for it that he gets that baby but literally stumple across this during a 1-time hiking tour is not a good solution I think. Second thing is the also magically appearance of a second legendary card of his own deck. Also I'd love to see him struggle with his skills but yea thats it.
I'm really enjoying the concept and pacing to start the story. The cards initially threw me off from the blurb, but they are not a lame Yugioh type and instead fit well with fanatasy, more like spellbooks. if you've read jake's magical market then you'll have a good idea of the cards system. The story execution is solid along with the scale and rate of discovery of the world. The character is young to start at age 12, but I'd imagine we will hit a time skip at some point.
PrefaceMany years ago David Devant, the great English conjurer,was approached by an acquaintance new to sleight-of-hand withcards. "Mr. Devant," said this young man, "I know three hundredtricks with cards. How many do you know?." Devant glanced at theyouth quizzically. "I should say," the magician responded dryly,"that I know about eight." Devant was making a point with which allprofessional magicians are familiar. To perform card tricksentertainingly you must not only know how the tricks are done, buthow to do them. There is a vast difference between the two, and ifproof were needed, one need only watch the same feat performed by anovice and by an expert card conjurer. The novice knows themechanics of so many tricks that he cannot do any one feat reallywell; the professional performs a smaller number of tricks which heknows how to present in such a way as to create the greatestpossible impression upon those who watch. We cannot emphasize toostrongly that knowing the secret of a trick is not the same asknowing how to perform that trick; and that knowing the secret ofhundreds of tricks is of little value unless each can be performedsmoothly and entertainingly. It is far better to know only a fewtricks which can be performed with grace, skill and effect. Inwriting this book, we have attempted to teach you card tricks whichmay be performed anywhere, at any time, under any circumstances,for any company, and using any pack of cards. You will not need"trick" packs of cards, nor special cards, nor expensiveaccessories. This is most important, for it means that no matterwhere you may be, you need only borrow a deck of cards when calledupon to entertain; the ability to amuse and interest will be
literally at your finger tips. To ensure that you will be a goodcard magician, we have introduced you to the mysteries of cardmagic progressively. Each chapter describes a new sleight orprinciple and a selection of tricks follows in which thatparticular sleight, and those already learned, are the only onesused. We do not suggest that all the tricks in each section shouldbe mastered before you pass on to the next sleight. You should,however, select at least two of them and learn them so well thatyou can perform them smoothly and entertainingly before going anyfarther. These tricks have been chosen with the greatest care andevery one of them is effective if properly done. If you find that,in your hands, a certain trick falls flat, you can rest assuredthat the fault is yours, and that further study is required.Clearly, to travel the royal road to card magic, you must beginwith the fundamental principles and learn these well, as you wouldin learning any other art. Fortunately, the study of card conjuringis a delightful task and one that is no less than fascinating. Forthis reason, we have found that the student is inclined to raceahead to explore the distant pastures which he is sure (andrightly!) are lushly green. We cannot blame you if you, too, wishto rush through this book, but we would rather have you emulate thetortoise than the hare. By making haste slowly, by really learningwhat is given you in one chapter before proceeding to the next, youwill, in the end, be a far better card magician. By adhering to ourplan of study, you will not only learn practical sleights andsubtleties, but you will simultaneously add to your repertoire ofgood card tricks which will surprise and please all those who seethem. Best of all, you can begin performing tricks ofsleightof-hand as soon as you have mastered the first chapter, andthus at once learn through practical experience before audienceshow tricks must be presented to achieve the greatest effect fromthem. Then, too, we have inserted in each chapter feats which areself-working-effects which require no skill on the part of theperformer. These will give you an opportunity for concentratingyour whole attention on acting your part in such a way as to bringout the trick's greatest possible effect. We reiterate that thereis a vast difference between doing and performing card tricks.Since your primary purpose in performing sleight-of-hand with cardsis to entertain those who watch, it is not
enough that you should achieve technical perfection alone. Youmust also make your tricks amusing and interesting by weaving abouta trick's basal plot a pleasant discourse which will divert thespectators. We have tried to show you how this is done by outliningtalk--or "patter"--for most of the tricks. Naturally, your pattershould be in keeping with your own personality, gay and amusing ifyou have an ebullient personality, more factual if you are a moreserious person. For this reason you should use the patter we havesuggested only as an illustration of how the bare bones of a trickmay be clothed in talk and action to make the presentation astriking one. True art, we have been told, holds the mirror tonature. This is especially true of conjuring with cards. Completenaturalness of action, speech and manner is the essence of the art.There is a school of card conjuring in which the artist, by themere rapidity of his actions, attempts to impress his audience withthe great skill he possesses. We urge you to eschew this type ofcard work and instead strive at all times for a natural, relaxed,graceful handling of the cards. There are a number of general rulesgoverning good card magic which you should always keep in mind: 1.Never tell beforehand what you purpose to do. Forewarned, theaudience conceivably may discover the method. Wait until theclimax, when all the necessary secret preparations have been made,before announcing what you will do. 2. Do not repeat a trick,unless you can duplicate the effect by another means. 3. Neverreveal the secret of a trick. Many good card tricks are so simplethat to reveal the method is to lower yourself in the estimation ofthe audience, which has given you great credit for a skill whichyou then confess you do not possess! 4. Use misdirection to helpyou conceal the vital sleight or subtlety employed in a trick.Misdirection is simply the diversion of the audience's attentionduring the moments when a sleight or subtlety is made use of. Letus say, for instance, that you must make use of the sleight knownas The Pass in the course of a trick. You can divert
attention from your hands by addressing a remark to someone, atthe same time glancing at him; all eyes will turn to the person youhave addressed as he makes his response. You can divert attentionby requesting someone to hand you a nearby object, which has thesame effect of turning everyone's gaze, for an instant, towards theobject; and in that instant you perform your secret sleight. Youcan divert attention by having someone show to others a card whichhe holds; as everyone glances at it, you perform the necessarysleight. 5. Know what your patter will be for a given trick. Notonly will your patter help in entertaining your audience, but itaids in concealing the modus operandi of the feat. Since a certainamount of a person's powers of concentration must be devoted toassimilating that which you say, he cannot analyse quite so clearlythat which you do. Finally, we should mention that we have notincluded the more recondite and difficult card sleights, such asthe second and bottom deals, which in any event are performed wellby only a few topflight card experts. Later, when you have learnedall that we have given in this book, you may, if you like, progressto these sleights, which you will find in Expert Card Technique,and other books. For the time being we urge you to confine yourknowledge of card magic to this book, learning how to do, and howto perform, the fine tricks which we give. And now we have talkedto you long enough; you are impatient to savour the good things tocome. To you we say "Bon Voyage!" as we stand aside to let youstart your journey up the royal road to card magic. Jean HugardFrederick Braue
The Overhand ShuffleIt is our intention to show you the royalroad to card magic, and the first stage of our journey is toinstruct you in the use of the overhand shuffle and to explain themany purposes which it serves. Anyone who plays cards has learnedto execute the overhand shuffle. It is a simple operation, yet itis the first step--and a very important one--on the road to themastery of card magic. It is essential that you master this firststep before continuing on your journey, and for this reason we urgeyou to learn the various shuffles and perform the many fine trickswhich they make possible before you pass on to the other sections.Each succeeding chapter in this book, except the last, leads to theone which follows and supplements the one which preceded. Byresisting the impulse to learn everything at once but by practisingeach step as you go, you will, with a speed that will amaze you,soon have travelled the entire road; when finally in that way youhave reached its end, you will be a far more competent cardconjurer than will the more impatient reader. With this final wordof caution, we now start you on your pleasant journey. Position ofthe Pack in the Hands It is essential that the cards be handledneatly and precisely, and the first requisite towards acquiringthis neatness of execution is the position of the pack in thehands. 1. Hold your left hand half closed, palm upwards, and placethe pack in it, face downwards, so that the third phalanx of theindex finger is bent against the outer left corner. The middle andring fingers, 2b1af7f3a8