OOKEN

B Daniel Rhod
IC RDM
S
BAR CA
FO

Techno
Card Magic
Basic techniques
to generate
miracles
 This book is dedicated to all the known and unknown cardicians whose tech-
niques are described. Their creations have been the foundation of today’s card-
magic, giving us marvelous tools to build effects which amaze our audiences.
D.R.

From the same author, in French :

1977 Lecture Notes (1977)
Close-up Cosmopolite 1 (1977)
Close-up Cosmopolite 2 (1978)
Card Digest (1979)
Magie sur Imaginaire (1981)
Plus Secrets Secrets (Joker Deluxe, 1994)
1995 Lecture Notes (1995)
Seminar Lecture Notes (1996)
Magie Virtuelle (Joker Deluxe, 1998)
Secrets Virtuels (combining Plus Secrets Secrets and Magie Virtuelle; Joker Deluxe, 1998)
Techno Cartes (Joker Deluxe, 1stedition1999)
Techno Cartes (HBM, 2ndedition 2000)
Techno Pièces (Joker Deluxe, 2000)
2001 Odyssey Notes (2001)
Techno Cartes (Joker Deluxe, 3rdedition 2001)
Techno Cartes 2 (Rhod Magic, 2007 )
Techno Pièces 2 (Rhod Magic, 2007)

From the same author, in English :

Techno Card Magic (Joker Deluxe, 2000)
Techno Coin Magic (Rhod Magic, 2005)

All rights reserved !

No part of this publication may be reproduced, stored in a retrieval
system, or transmitted in any form or by any mean, electronic,
mecanical, photocopying, recording or any information storage
and retrieval system now known or to be invented, without the
permission or the publisher.

© 1999 by Joker Deluxe (original French edition).

© 2001 by Joker Deluxe (English edition).
Translated from French by Jean Faré.
Thanks to: Philippe Billot (from SIAM, for original rewriting and correction), Bebel and
Chris Assheton-Blair (for English correction).
Photographs by Patrick Pillu. Techniques performed by the author.
ISBN 2-912566-27-4. Printed in France by SIP Impression, St-Ouen l’Aumône, July 2001.
 CONTENTS
Criticism ! page 4
Grips 5
- standard dealing position 5
- Biddle Grip 5
- vertical Grip 5
- straddle Grip 6
- bevel Grip 6
- slip-cut Grip 6
Breaks 7
- holding a break 7
- forming a top card break 8
Buckle 11
Pull-down 13
Swing-cut 13
- simple swing-cut 13
- multiple swing-cut 14
Transfer cuts 15
- the in-the-hands bottom double-cut 15
- the reverse double under-cut, top card control 16
Slip-cut 18
- basic technique 18
- visual appearance in hands 19
Flushtration Move 20
Jordan Count 22
Elmsley Count 25
Kardyro-Biddle Move 29
Hamman Count 32
Tilt 35
- two-handed tilt
- one-handed tilt
Atfus 38
Ascanio Spread 41
Complete false overhand shuffle 44
Double lift and turnover 46
Chronology 48

•3•
 Criticism !

Remember that a technique must be invisible. Your audience should not even feel any
move. Watch your angles.

■ Practice in front of a three sec-

tionned mirror that you can set
on the table.

■ If you are not sure of your per-

formance, ask the help of some
knowledgeable magician.

■ Master your technique before

exposing your card effects in
front of an audience.

■ Read carefully the explanations step by step. Don’t skip any paragraph.

■ If you do not know or if you have forgotten how to perform a sleight, go back to
the “true move”, the move used without any sleight.

■ Remember that a technique is an invisible tool used to perform a magicial effect.

■ Good luck !

Are you left-handed?

Don’t worry, you too can become a cardman! Many great cardmen were or are
left-handed.
Being left-handed does not prevent from performing any particular techniques.
Simply reverse the explanations: left will become right and vice-versa.

F. Montmirel.

•4•
 Grips
The position of the deck in the left hand is important. From it
depends the good execution of some techniques. Keep this in
mind!
1
1. Standard dealing position
With this position, the deck is firmly gripped.
❶ The left of deck is under the first joint
of the left thumb which will move easily.
❷ Left little finger can be placed at the
right inner corner or near it. Forefinger is
at front edge (photo 1).
Left little finger position at the right inner cor-
ner allows a break to be kept opened to a mi-
nimum. There are other specific grips where
the forefinger is shifted as well as other fingers
and thumb positions: Erdnase grip, Master
grip, Full grip…

2. Biddle Grip
The deck is held from above by the right
hand at its inner and outer edges
(photo 2). 2
When fingers and thumb positions are diffe-
rent, it is called “Modified Biddle Grip”.

3. Vertical Grip
This grip reduces visual angles from above
and helps to hide some moves like breaks.
The hand can be against the body or palm
toward the body (photo 3).
3

•5•
 4 5

4. Straddle Grip
Deck, packet of cards or card are held between the
first and little left fingers, locking the deck by its short
sides (photo 4).

5. Bevel Grip
The right fingers press inwards against the right side
of cards in order to get a bevel (photo 5).
This grip allows to hide a right thumb break under the top
card or cards when it is transferred to a right hand Biddle
Grip.

6. Slip-cut grip
The deck is in dealing position, left thumb resting at
the left outer corner and touching the forefinger
(photo 6).
This grip is used to hold back the top card by pressure of
6
left thumb during a slip cut.

“Peeling”
To draw off a card or cards one by one at a time with the
thumb in order to slide cards from a packet. Cards are
peeled during an overhand shuffle (running cards), an
ATFUS move, an Elmsley count for example (see those
techniques).

•6•
 Breaks
Holding a break is a basic technique.
Study this chapter carefully in order to master
this wonderful “great small technique”.

Principle
A break serves to hold a gap between two or more The break:
cards or packets. The card or cards under or above • is an old idea : the first
the break will be controlled later by a pass, a double written explanations of
under cut, a side steal… this technique are found
in gambling books of the
18th Century. We will
1. Holding a break never know the name of
a. Left little finger break its inventor who had
such a genius idea fin-
The most used technique.
ding the base of so many
The deck is in left hand, standard dealing position.
other techniques;
The break is maintained by a slight pressure of the tip
• has become a com-
of the left little finger at the rear of the right edge of
mon sleight. So many
cards (photo 7).
times mentionned that
nobody pays attention
anymore;
• has not really a name :
beside Erdnase break it
is mostly known as
pinky break or thumb
break;
• is often neglected,
even by some experts.
Holding and the open-
ing of the break should
be kept invisible.
7

•7•
b. Thumb break
The deck is held in Biddle grip and the
break is maintained by a slight pressure of
the right thumb against the inner edge of
cards (photo 8).
Very often, a left little finger break is transfer-
red to a right thumb break and vice-versa.

c. Thumb base break

The opening is maintained by pressure of
the heel of the palm (base of left thumb)
at the inner left corner of the deck gripped
in standard dealing position (photo 9).
This break allows the fingers to straighten out
in a relax manner, therefore canceling the idea
that a break could be held.
9

Historical data. the base of the left thumb. It is the flesh of

In the book Card Magic of Victor Farelli
(1933) is described the “Flesh break” by
Italian magician Veneri. This thumb base
break method was kept secret for many
years by Veneri who showed it to very close
friends. The explanation in Farelli’s book
goes like this : “In Veneri’s method the divi-
sion is held by the fleshy part of the hand at
the hand at the base of thumb which keeps
the gap opened. A minute portion of the
skin is clipped between the upper and lo-
wer halves of the pack and the cards may
be shown carelessly on all sides save that
towards the performer’s body. The thumb
and finger are quite free and no break is vi-
sible to the audience.”

•8•
2. Forming a top card break
a. One handed left little finger break
❶ Hold the deck in left hand dealing po-
sition. Left thumb pushes the top card to
the right a distance equal to the width of
its white border (photo 10).
Note the position of the second finger at the
right outer corner.

10

❷ Using left thumb and left third finger,

bring the top card back and line-up with
the top of the deck. During this, press the
pad of the little left finger against the edge
of the top card which separates it from the
rest of the deck at the right side
(photo 11).
This maneuver lasts a split second and the
deck can be turned slightly toward you, which
will conceal the opening. With enough prac-
tice, this get-ready should be performed wi- 11
thout looking to the deck.

b. One handed right thumb break

❶ Hold the deck in left-hand dealing po-
sition.
❷ Right hand approaches the deck palm
down from above. Place the ring finger
against the right outer corner and right
thumb against the right inner corner (mo-
dified Biddle Grip), as in photo 12.
❸ With the fleshy pad of right thumb, feel 12
and gage the thickness of the top card at
the inner edge.
❹ Keep the top card flat while lo-
wering the inner end of deck
(photo 13).
❺ When the inside opening is
created, move the deck slightly •9•
back up and catch flesh of right thumb pad in between the talon and the top card
(photo 14).
This technique can be done while moving the two hands slightly forward. It is a better me-
thod than the one using only the right thumb which lifts the corner.
Remember : the deck is moved down, the thumb stays stiff and the top card remains flat.
The modified Biddle Grip allows to position correctly the thumb at the right inner cor-
ner and to reduce consequently the opening of the break. Is is also used to set up for Tilt.

13

14

• 10 •
 Buckle
Getting a break above the bottom card

❶ Hold the deck face down in left hand, deal-

ing position.
❷ Place the left forefinger along the outer end
of the bottom card. Note the tip of the fore-
finger extending from the right outer corner
(photo 15).
❸ Move the left thumb accross the top of the
deck and place its tip near the outer right cor-
ner. Maintain a good pressure against the 15
deck.
❹ Keep the forefinger flat under the outer
edge of the bottom card. With this finger,
exert a slight upward and diagonally inward
pressure, from outer right corner to inner left
corner. Counterpressure against the crease in
the palm near the heel of the thumb causes
the lowermost card to bow and separate from
the deck at the inner right corner. This slight
opening will allow a break to be taken by the
left little finger. Photo 16 shows the grip from
the right side. Note there is no buckling of the 16
card at the front edge.

Be careful not to press the index finger toward
the outer left corner rather than exerting a dia-
gonally inward pressure. To prevent the front
buckle, keep the outside of the forefinger for its
entire length in contact with lower outer edge of
the deck. To buckle the card, press with the en-
tire index finger, not just with the outer
phalanx. Use a mirror to check if any bending
of the forefinger or buckling of the bottom card
is visible from the front of the deck.
Some cardmen prefer to buckle with the left se-
cond finger or pinky, applying pressure against
the right long side of the bottom card during a
count.
Historical data.— A description of the
buckle can be found in Expert Card
Technique by Hugard & Brauë, publi-
shed in 1940.
The technique is described while explai-
ning a false count. Bart Whaley in his
dictionary attributed the false count to
the Mexican magician A.J.Cantu who
taught it to Charlie Miller. Both Dai
Vernon and Charlie Miller credited each
other for the break.
Edward Marlo published the double and
triple buckle in The Cardician (1953).

• 11 •
 Pull down
To get a little finger break above the bottom card

This technique is difficult and will need some practice. It is a su-

perior method compared to the buckle because the slight opening
needed to obtain the break is made at the rear of the deck, which
keeps it invisible from the audience.

❶ Hold the deck face down in left hand, dealing posi-

tion. Historical data.— The ori-
❷ Place the tip of the left little finger against the right gin of the Pull down move
long side of the deck very near the right inner corner. can be found in Tarbell,
vol. 3 (1927) by John
❸ Press slightly the left little finger tip against the right
Booth false count tech-
side of cards, feeling the thickness of one card that you
nique.
hold back (photo 17).
The right inner corner of a
❹ Squeeze some flesh of little finger between the bot- card was bent down
tom card and the deck (photo 18). (down crimp). The left
little finger was placed
This technique needs to develop a good sense of touch. under the crimp to sepa-
Don’t be discouraged if you can’t get it on the first attempt: rate the crimped card
it is normal.You need to spend a lot of time to practice this from the other.
sleight.

17 18

• 12 •
 Swing-cut

1. Simple swing-cut
❶ The deck is held face down by the right hand, Biddle Grip.
❷ Place the tip of right forefinger against the front edge of the cards and use it to gage
the thickness of about twelve cards.
❸ Lift this small packet with the forefinger and swing it to the left, using the right
thumb as a fulcrum (photo 19).
❹ Pinch that small packet by the left upper corner between the left thumb and the
base of the index finger (photo 20).
❺ Move the left hand to the left, releasing its packet which will fall into dealing po-
sition.

19

20

• 13 •
2. Multiple swing-cut
❶ Perform the first swing-cut as described on previous page.
❷ Left hand comes back half-way under the right hand.
❸ Repeat another swing-cut on top of the left hand packet (photo 21). If you have
enough cards left over in right hand, another swing-cut is possible.

As suggested by Edward Marlo, a top set-up can be re-

tained on top of deck by using the following combination:
Historical data.— This se-
first swing-cut in left hand which comes back replacing its
quence of multiple swing-
packet under the right hand talon. A break is secured at
cuts is a flourish from
this time by the right thumb between the two halves.
Edward Marlo. It has been
Perform multiple swing-cuts up to the break. Finish by
published for the first time
placing the left over right hand packet on top of left hand
in 1942 in a booklet called
cards, bringing the set up back to the top of the deck.
Deck Deception under the
An excellent multiple false swing-cut can be found in
title “Marlo’s running cut”.
Techno Card Magic 2, by Jeff Semel.

21

• 14 •
 Transfer cuts
to the bottom, in the hands

1. The in-the-hands bottom double-cut

The purpose of this technique is to bring the top card of the deck to the bottom through a se-
ries of cuts, while preserving the relative positions of the cards. This technique implies to get
a right-thumb break under the top card.We will describe the indirect method (the left little
finger break get-ready is performed first). The direct method can be used also, it is up to you.
Both methods are described at the beginning of this booklet.
❶ Hold the deck face down in left hand, vertical dealing position.
❷ Get a left little finger break under the top card, then bring the deck back into a re-
gular dealing position in left move.
❸ Take the deck with right hand, modified Biddle grip, transferring the break to right
thumb.
❹ Simultaneously, use the left hand to cut off the bottom portion of the deck. Move
it to the left, pinching it between thumb and forefinger at upper left corner
(photo 22), the other fingers being free.
❺ Slide these left hand cards back on top of the right hand ones (photo 23).

22

23

• 15 •
❻ While squarring up the deck with left
thumb, the left fingers grip the portion of
24
the deck under the break at the right edges
(photo 24).
You are now in the starting position for the
double cut done in the hands, which you
perform as previously described.
Square up the deck. The top card is now at
the bottom.
This description sticks to the one developped
by Dai Vernon, the only difference being the
break get-ready. Vernon specifies to place the
thumb at the very right corner which closes to
Historical data.— The concept of trans-
a minimum the right thumb break. He also ferring cards via table-cuts with bottom
mentionned the use of fluid motions without break has already been in print in The
any stop action between cuts. However, a keen Expert at the Card Table (Erdnase,
observer might spot that the bottom half is cut 1902).
The bottom double-cut in hands was
on the top half, then, by repeating the same
developped by Dai Vernon. It has been
move, the new bottom half is replaced on top published for the first time in 1946 in
of the new top half, bringing the deck back to Series 2, No. 2, of Stars of Magic, and
origin-al order. In order to avoid that, we re- used in a routine called “Cutting the
commend cutting two or three packets Aces”.
from the bottom instead of the half deck.

2. The reverse double undercut, top card control

This is the transfer of one or several bottom cards to the top without changing the order of
the deck. This is achieved by using a swing-cut followed by an in-the-hands double-cut.
❶ Hold the deck face down in left hand,
dealing position. Get a left little finger
break (pull down method is best) above 25
the bottom card.
❷ Take the deck with right hand, modified
Biddle grip, transferring the break to the
right thumb.
❸ Perform a swing-cut of the top half of
the deck to the left hand.
❹ Hold this packet pinched by left thumb
and forefinger (photo 25).

• 16 •
❺ Place this left hand packet under the
right hand while keeping the right thumb
26
break (photo 26).
❻ Pause for a beat while squarring up the
deck.

The rest is like the double cut described

above:
❼ Split in two the bottom half part of the
deck with left fingers.
❽ Move these cards to the left. This pac-
ket is pinched between left thumb and forefinger, other fingers are loose.
❾ Slide this left hand packet back on top of right hand cards.
❿ Square up the deck. Simultaneously, grip the new bottom packet under the break
with left fingers. As before, carry this packet on top of right hand cards and square
up the deck. The bottom card will be now on top of the pack.

You have probably noticed that three cuts have been performed but due to the double cut
principle the title “reverse double-cut” can be used in that case.
In the preceding technique, Vernon suggested that no pause should be made. For the above
transfer cut, the author goes for a pause after the swing-cut. The top cut to the left is followed
by two more cuts to the right which implies a pause cutting down on the rhythm.
There are many other technical solutions but they are more difficult, like Larry Jennings’ one
which doesn’t use the swing-cut. I offered my own contribution in my book Magie Virtuelle
in French.

Historical data.— This technique has

been published for the first time in
Expert Card Conjuring (Alton Sharpe,
1968) under the name “Reverse
double undercut”.
In its introduction, it is pointed out that
this technique was shown first to Marlo
in 1946 by Bert Fenn who had learned
it from Bob Haskell.

• 17 •
 The slip-cut
from top in hands

The keep the top card on top of deck after a regular cut.

This technique enables to

cut the deck from your
hand to the table while
keeping the top card on
top.
Historical data.— This technique comes from the gambling
underground world.
A description of the tabled slip-cut is found in The Expert at
the Card Table (1902) from Erdnase in the chapter “Blind
cuts : to retain bottom stock - top losing one card.”

❶ Hold the deck face down in left-hand dealing posi-

tion, with the left thumb lying naturally on top of the
deck near the outer left corner. The left forefinger is 27
against the outer edges (photo 27).
❷ Bring the right hand over the deck to assume a mo-
dified Biddle grip: thumb at inner right corner, se-
cond finger at outer right corner.
In order to hide the next sliding action, tilt the deck
slightly toward you (photo 28).
❸ Move the top half of the deck to the right by sliding
it under the top card which is held back by a light but
steady pressure of the left thumb (photo 29).
This card should fall imperceptibly flush with the low-
er half of the deck.

28 29

• 18 •
❹ With the right hand, cut these cards to the table in a continuous motion. To com-
plete the cut, bring the right hand back to the left hand, take the rest of the deck and
drop it onto the tabled half.

Visual appearance in hands

The slip-cut concept can be used to produce one or several cards on top of the deck:
❶ Place an Ace face up second from the top.
❷ Perform a slip-cut as described on last page. The Ace appears face up (photo 30).
❸ The right hand packet is moved and dropped sharply on top of left hand half.

The slip-cut described above is used to control the top card but it is also used to lose or repo-
sition that top card while otherwise retaining the order of the cards.
Most of the time, the slip-cut is not performed perfectly and so is not completely invisible. The
sliding top card is seen and heard. These two weaknesses should be considered.

End note
Historical data.— A description of the slip
American cardman Harry Lorayne is the
cut in hand can be found in “Help
inventor of the “Halo cut” which is a bot- Yourself” of Frank Lane published in 1931.
tom slip-cut in the hands.

30

• 19 •
 The flushtration move
To display same backs or same faces
from cards completely different

❶ Place three X cards face up with a face-up Joker on top of them.

❷ You are going to display four Jokers.
Hold the four card packet face down with 31
right hand Biddle grip.
❸ Turn the right hand palm up to display
the face card of the packet (photo 31).
❹ Turn the right hand palm down and
peel the top card into left hand
(photo 32).
❺ As soon as the card is peeled off, the
right hand moves to the right and turns
palm up (photo 33).
Then, right hand turns palm down again
32
and a second card is peeled off on top of
the first left hand one (photo 34).
❻ Repeat the same actions for the next
cards.
❼ The last right hand card, the Joker, is
simply placed face down on top of the left
hand cards.
Four Jokers have been displayed.

33 34

• 20 •
Of course, this technique can be used with all the packet
tricks, whatever the number of cards. Historical data.— This
It will be more convincing if used to display same backs false optical display-count
has been developped by
instead of same faces. Combining that sleight with other
Norman Houghton and
false counts or displays will reinforce the technique.
was first published in the
You can count five as four by keeping the last two cards as first issue of the magazine
one while dropping them on the left hand cards. Ibidem in june 1955 p.7 in
The rhythm must be smooth, steady and fluid. By using an effect called «Colour
this move, the cards end up in reverse order, which can be blind». The American card-
used at your advantage. man Brother John Hamman
included a similar tech-
End note nique in 1969 in a packet
Another technique achieving the same purpose has been trick named“Flushtration”
developped under the name of “Rumba count” by French which gave the sleight its
cardman J.-P. Vallarino. name.

33

As soon as the card is

peeled off, the right hand
moves to the right and
turns palm up

• 21 •
 Jordan count
To show four cards while hiding the one in fourth position.

1. Basic grip
35
❶ Have your cards set up as in photo 35.
❷ Anchoring the packet in left hand.— Take
the face down four card packet in left
hand (photo 36).

36

Note the exact position of the left forefinger along the

outer edge: its tip lies along the outer right corner.
The pressure is diagonal with the forefinger pressing
the left corner against the base of left thumb. These
two pressure points leave the other fingers free. The
pack is merely held
by the forefinger.
37

❸ Sidejogging the top card.— The card will pivot at the

inner left corner and the front edge will ride above
the forefinger tip (photo 37).
If your grip and pressure points are correct, you will
drag only the top card, the other ones will stay per-
fectly aligned.

• 22 •
❹ Right hand grip.— The packet of cards
is pinched at the middle of the right long
38
edge by the thumb above and the fingers
underneath. A good balance is obtained
by positioning the thumb exactly in bet-
ween the forefinger and second finger
(photo 38).

2. The count
❶ On the count of one, side jog the top
card to the left as described above. With 39
the left thumb, peel that first card to the
left. The right hand stays stationary
(photo 39).

❷ On the count of two, the left hand

brings its card under the right hand cards.
The take of the second card will be easier
if you leave a “V” shaped gap between the
packet and the first peeled card. Peel the
second card with left thumb diagonally to the left. Right hand keeps steadly.

❸ On the count of three, bring the two

cards held by left hand flush under those 40
held by right hand in order to pinch them
with right fingers and thumb.
Use your right thumb to push the top
three cards as one to the left and take
them into your left hand (photo 40).

❹ On the count of four, take the last card

of the right hand onto those in the left

• 23 •
hand. You have just shown four face down cards while keeping the face up card hid-
den.

Keep the rhythm steady and flowing. Display the counted cards with a flat open hand. Avoid
body tension and don’t keep the hands too close to the body. Keep in mind that you are more
displaying cards than counting them.
The description of the Jordan Count has been adapted from the original one in order to keep
consistancy with the Elmsley Count.
If you follow a Jordan Count by an Elmsley Count, you will be back at your starting point.

Experiencing difficulties ?
If you can’t get the knack to push off only one card on the count of two, check that the pres-
sure points are correct. Check back photo 26 and make the necessary modificiations.
If you meet difficulties on the count of three to keep the botton card in right hand, bend the
right fingers a little bit more to get a better grab.

Historical data.— This false count has

been introduced lately mainly on ac-
count of the widespread popularity of
the Elmsley Count and the possibilities
given by the combination of the two.
It has been originated by American card
expert Charles Jordan. This false count is
describe for the first time, in the book
Thirty Card Mysteries (1919) in the rou-
tine titled “Phantom Aces”.

• 24 •
 The Elmsley Count
To count four cards while hiding the third one.

1. Basic grip 41
❶ Have four cards set up as in photo 41.
❷ Anchoring the packet in left hand.— Hold
the four card packet face down in left
hand (photo 42).

42

Note the exact position of the left forefinger against

the outer edge and its tip near the outer right corner.
The forefinger presses diagonally the left inner corner
of cards against the base of the left thumb. These two
pressure points (forefinger and thumb base) leave the
other fingers free.

❸ Loosening and
43
angle-jogging of the top
card.— With the left
thumb, push the top card slightly up and to the left.
The card will pivot at the inner left corner and the
front edge will ride above the tip of the forefinger
(photo 43) which serves to hold the lower three
cards in alignment.

• 25 •
❹ Right hand grip.— With the right hand,
grasp the lower three cards at their right
44
side in a pinch-grip. Right forefinger and
middle fingers contact the face of the pac-
ket while your thumb rests on the back of
the three card block, positionned above
and between the index and middle fingers
(photo 44).

2. The count 45

❶ Move your left hand diagonally out-

ward to the left with the top card, count-
ing “one” silently to yourself. You must
establish from the start that your left hand
performs the display actions, being the
hand that takes the cards one by one. In
contrast, your right hand remains motion-
less throughout the display (photo 45).

❷ The count of the second card is so-

mewhat more demanding because two
46
things happen simultaneously.
The card just counted is taken under the
right hand’s packet while the original se-
cond and third cards are treated as a
single card. Move your left hand back,
apparently to draw off the next card.
Slide the left hand’s card under the right
hand packet while your right thumb si-
multaneously pushes the top two cards of
the packet slightly to the left (photo 46).

• 26 •
❸ At the same time, your left hand slides
its card under the right hand ones, it clips
47
the slightly sidejogged top pair of cards
between the left thumb and the ball of the
forefinger and pulls the double card dia-
gonally forward to the left on the count of
two (photo 47).

❹ On the counts of “three” and “four”, the two cards remaining in the right hand
are taken individually onto the two in the left hand.
You have just shown four face down cards keeping the third (face up) card hidden.

During the phase 3, it is important to keep the double perfectly aligned to prevent the face
up card showing. The rhythm must be absolutely uniform.
Show the cards with the left hand in an open posture by simply extending the left thumb to
the left. Avoid being tensed or keeping your hands too close from your body. Always keep in
mind that it is more a display than a count.

Experiencing difficulties?
If you can’t pull only one card on count “one” with left thumb, check that the two pressure
points are correct. Check back photo 44 and make the necessary adjustments.
If you can’t get a good “two card push-off”, don’t be discouraged, it is normal at the begin-
ning. It takes some practice: light pressure to push off with right thumb and a draw move to
the right using the tip of right fingers.

Useful tips
The Elmsley Count is sometimes called “Underground Elmsley”. It means that the last card
counted is placed back under the left hand’s cards and not on top of them.
The Elmsley Count can also be used to hide more than one card. In that case, the packet
consists of more than four cards, but is displayed as four cards nevertheless. On count of
“two”, a three or four card as one push-off is made.
If you perform a Jordan Count after an Elmsley Count, you will be back to the Elmsley start-
ing position.
In the original description, Alexander Elmsley explains his count using a reverse hands ac-
tion: the right hand peels the cards from the left hand. The Elmsley Count is classified “se-

• 27 •
cond degree technique” under the
guise of counting cards several secret
actions are performed: a switch and a
double push-off and a double take.
This technique can be repeated over
and over and doesn’t need any misdi-
rection.
Thanks to this technique, you can
show that a card has vanished from a
packet of cards, a card has turned
face up or face down, its back has
changed color, etc. Please give this
technique the time and practice it de-
serves.
Historical data.— This false count has proved to
be seminal in card magic litterature. It has been
originated by the British card-expert Alexander
Elmsley and has been in print for the fist time in
1959 under the name of “Ghost Count” in a rou-
tine called “The four cards trick”. Dai Vernon
was prominant in the widespread audience of
this false count, using it in his now classic
“Twisting the Aces”.
A. Elmsley was inspired by two other false
counts: the “Eye count” of Edward Victor and a
false count from Eric de la Mare. Among older
sources, we must mention the Jordan Count
(1919) and the Stanyon Count (1920).
Your left hand slides its card
under the right hand ones, it
clips the slightly sidejogged top
pair of cards between the left
thumb and the ball of the fore-
finger and pulls the double card
diagonally forward to the left on
the count of two.
• 28 •
 The Kardyro-Biddle
move
To steal or load any number of cards
from a packet to the bottom of the deck
(called by mistake “the Biddle move”)

This technique is described herein using a break which was originated by Tony Kardyro.

❶ Set up the ace thru five of any suit on

top of deck as in photo 48.
❷ Hold the deck with right hand, Biddle
grip. The palm up left hand moves under
the right hand cards. The left thumb is at
the upper left corner hiding the index of
the card (photo 49). 48
❸ Move the left hand diagonally to the left
using the left thumb to peel the first card (photo 50).
❹ Show the first card (Ace).

49 50

❺ The left hand comes back to the right and peels off the next card (Deuce) on top of
the Ace. The left long edge of the card is aligned with the left edge of the packet. Viewed
from behind is a “V” shaped gap. This position is important: it will help to hide the in-
dex of the cards.

• 29 •
This position is critical: it will allow you to hide the upper left index of the card which is push-
ed off on the card already in left hand.
❻ Show the deuce with the left hand moving to the left.
Pay attention to the left thumb at the upper left corner. It will make the grip easier and help
to line-up the cards.
❼ The left hand comes back to the right as
before. Peel off the three onto the left hand 51
cards catching a left little finger break un-
der it (photo 51).
❽ During the next action, the three is
going to be secretly loaded or stolen under
the right hand packet. Bring your left hand
back to the right to draw off the next card
(four). As you place your left thumb on the
new top card of the right hand’s packet, the
card above the break ends up flush with
the bottom of that packet.
With your left thumb, draw off the new top 52
card (four) moving the left hand to the left
as usual, but use the right thumb and fin-
gertips to retain the three under the right
hand’s packet (photo 52).
Be careful not to flash the card indexes at the
left outer corners, use left thumb tip as shown
in photo.
❾ Next peel off the five on top of left hand
cards to conclude the move.

To the spectators, you have just displayed or/and count five cards. The real situation at the
outcome is four cards in left hand, one card face up under the right hand packet or pack. In
our example, one card will have vanished from a small packet of cards. The reverse use is to
add one or several cards to a group of cards. All you have to do is take a right thumb break
above one or several cards under the right hand deck or packet and to release those broken
cards on top of the left hand ones during the peeling process.
The handling will prove easier with small packets instead of using a full deck.
As with all the counting techniques, keep a steady flowing rhythm.

• 30 •
 Historical data.— In 1947, American magician Elmer Biddle published a
routine called “Transcendant” in Genii magazine. The technique used
was first known as the “Biddle move” refering to the grip “the Biddle
grip”.
In The Cardician ( 1953) and MUM magazine (December 1959), Edward
Marlo points out that Tony Kardyro had shown him the concept in 1944,
( so, before “Transcendant” publication) but with a main difference: using
the breaks to steal or load any number of cards.
Tony Kardyro kept his move secret for years until he published it in the
columns of MUM magazine in 1960 under the title “The Kardyto-Biddle
move again”.

52

With your left thumb,

draw off the new top card
(four) moving the left
hand to the left as usual,
but use the right thumb
and fingertips to retain
the three under the right
hand’s packet

• 31 •
 Hamman Count
To switch a group of cards from a packet
when seemingly counting cards.

Several set-ups will be described in order to show different ways to use the Hamman Count.

1. To show only red cards.

The nine cards are set up as in photo 53.
Nine red cards will be displayed.

❶ Hold the nine card packet in right

hand, modified Biddle grip. Thumb at
right inner corner and second finger at
right outer corner (photo 54). 53
❷ Palm up left hand peels off the top card
using left thumb near the outer left corner.
❸ Hands separate to show first card in left hand dealing position (photo 55). The
hands meet again.

54 55

❹ Peel the next three cards on top of each other.

The switch will occur while peeling off the fifth card.
❺ Bring the right hand packet above the left hand one but very slightly jogged to the
left (photo 56). Clip the upper left corner of this packet between the side of the left

• 32 •
thumb and the base of the lower packet 56
will bump against the tip of the right fourth
finger. This happens almost automatically.
The right thumb contact both packets
(photo 57).
❻ The left hand moves to the left while
pinching the upper packet. The lower pac-
ket is held by right hand between thumb
and third finger (photo 58).
This packet switch in instantaneous. There
must be no stall during the switch mechanic.
Keep a steady and unbroken rhythm.
❼ As soon as the switch has been performed, peel the remaining cards one by one onto
the previous cards in left hand.

57 58

2. To display only Jokers

The nine card packet (four face down
cards and five face-up Jokers) is set up as
in photo 59. You can show nine Jokers by
using the Hamman Count described
above.
59

• 33 •
3. To show only blank faced
cards
The nine card packet (five blank faced
cards and four normal ones) is set-up as
in photo 60. Perform the same count des-
cribed above.
60
4. To show all same backs
The nine card packet is set up with four red backed cards followed by five blue-back-
ed cards face down. Perform the same count described above.

It goes with the Hamman Count the same as with the other false counts: the rhythm is most
important. Any variation in the tempo would be a deadly tip-off.
Once you have mastered the mechanics, just keep in mind the notion of “true move” or “legi-
timate action”. Try to keep the same rhythm whether you perform an Hamman Count or the
legitimate count of nine cards.
You might prefer to hold the packet with the fourth finger at the upper right corner instead of
using the third finger. There are also some slightly different handlings in use. Some cardmen
suggest to move the right hand only!
Anticipate the switch. Mentally count “1, 2, 3, 4”. On 4, what is going to happen on 5 should
be anticipated.
The description just given sticks closely to the Hamman Count mechanics as described by
Hamman himself.

Historical data.— This technique is the brain-

child of the famous American expert Brother
John Hamman. It has been in print for the first
time in Paul Le Paul’s book The Card Magic of
Brother John Hamman, in 1958.

• 34 •
 Tilt
To give the illusion that a card
is replaced in the middle of the deck.

1. Two-handed Tilt
The card is to be replaced maybe in spectator’s hands, on the table or even on top of the deck.
❶ The deck is held face down in a high left-hand dealing position
The left little finger is at the lower right corner while the thumb is along the left long
edge of the deck.
❷ The right hand is above the deck, palm down, in a modified Biddle-grip, right
thumb at the lower left corner (photo 61).
❸ Getting the separation. Remember that the top card must remain FLAT, neither raised nor
concaved.
With the ball of your right thumb, feel the thickness of the top card at the rear edge.
Do NOT raise that card.
❹ The left hand is lowered while the right fingers and thumb hold onto the single top
card. This creates a quarter-inch gap at the rear of the deck (photo 62).
This lowering of the hand and the rear end of deck is performed while moving both hands
slightly forward.

61 62

❺ Before removing the right hand, check that there is no opening visible from all
sides. The left thumb is against the left edge while the other fingers hide the right

• 35 •
edge. The forefinger keeps the outer edge of top card 63
against the front edge of deck. The gap can only be
seen from the rear (photo 63).
❻ Insertion of the card. Tilt the deck toward you in
order to neck-tie it. The gap can’t be seen even from
the rear.
❼ Take the card to be inserted by its inner right cor-
ner between right thumb and fingers. Insert it onto
the talon and under the tilted top card.
To increase the deceptiveness of the move, act as if
you encounter some difficulties when inserting the
card.
During this part of the move, you will apply the “true
move” concept: the inserted card is slightly held concave
(photo 64). 64
❽ Once the card is flushed, the right hand takes the
deck in a modified Biddle grip just as in the starting
position.
To square up the deck, your left hand raises the deck
slowly and smoothly. Don’t drop the top card on the
deck with the right hand.
❾ In a following action, square up the deck by sliding
the left thumb along the left side of deck.

The American card expert Howard Schwartzman came up with a finesse which consists to
really insert the card in the middle of the deck in such a way that a few cards will stick out
from the outer edge of the deck. After having squared these cards, the Tilt move is performed.
This sleight can be done surrounded.
Edward Marlo was first to mention the lowering of the deck instead of rising the top card.
This finesse is not mentionned in the 1977 Vernon’s description of the move where the top
card break is released instead. Our description follows the Marlo’s one, “380 Degree Tilt”,
published by Jon Racherbaumer in Flash Points.

• 36 •
2. One-handed Tilt
❶ Hold the deck face down in left-hand dealing position.
❷ With the right hand, take the card face down between thumb and forefinger.
❸ While showing the face of that card, take a left little finger break above the new top
card. Push up at the lower right corner with the left little finger. This will create a se-
paration (photo 65).
❹ Press the left side
of the deck against 65 66
the base of the
thumb transferring
the break to a thumb
base break (photo
66).
Place now the left
little finger along the
other left fingers
against the right
long side of the
deck.
❺ You can now insert the right handed
card just as in the two-handed method. Historical data.— In his book Further
Magic of the Hands (1945), Edward Victor
You can take a two-card break at the be- seems to be a precursor as far as the Tilt
ginning. The Tilt situation is ready when concept is concerned. The card was inser-
the top card is handled by the right hand. ted via the front end of the deck into a “V”
Remember that the Tilt card must remain shaped gap located at the left long side.
flat. If you use the two-handed method, Edward Marlo published the technique for
low-er the rear of the deck, don’t raise the the first time in his booklet Tilt (1962) and
top card. is responsible for the widespread use of
the move. Marlo mentions in his book he
had been told that Dai Vernon followed
Notes
the same lines several months before him.
There are many variations of Tilt.
Vernon’s method was finally published by
Some are rather subtile and deceptive, as Karl Fulves in the Pallbearer (1977) under
the “Convincing tilt” from Daryl the name of “Depth Illusion”.
Martinez, the “No Tilt” from Chad Long Vernon’s fans use “depth illusion” instead
(in Chad Long Seminar French video of “Tilt”.
tape), also the “Full Tilt” from Justin
Higham (in Imagik magazine No. 25,
Oct. 1999).

• 37 •
 Atfus
To switch a card or several card
regardless of their position.

❶ The basic set-up is indicated by

photo 67.
In this example, the technique will be used to
get rid secretly of the third card (the Three).
❷ Hold the deck face down in left hand,
vertical dealing grip.
Hold the face-up five card packet with
right hand, modified Biddle grip. 67
A left little finger break is secured under
the top card of the deck.
❸ Place the face-up packet against the top of the deck, but off to the right side
(photo 68).
Your left thumb falls or presses onto the face card of the packet as your right hand
moves away with the balance of the packet (photo 69). The top card break is still
maintained.
You have peeled the Ace.

68

69

• 38 •
❹ Move the left hand to the right and place the Ace of Clubs under the right hand
packet, sidejogged to the left (photo 70).
❺ The Ace is picked-up flush under the right hand packet by sliding this packet to
the left against the base of the left thumb (photo 71).

70 71

❻ At the same time, peel off the Deuce as

you did for the Ace. Square it as before 72
(photo 72 shows the action in progress).
❼ At the same time, the right fingers and
thumb secretely pick up the top broken
face-down card of the deck to under the
face-up packet while left thumb peels off
the Three on top of the deck.
The situation in right hand should be: bottom
card is face down and separated from the 4
face-up top cards with a thumb break.
❽ Your right hand now apparently picks
off the Three (photo 73) to under the
73
right hand packet as with the previous
cards. Actually, the face-up Three does go
under the right hand packet as the right
hand moves to the left.

• 39 •
However, the right fingers release the sto- 74
len face-down card to thus cover the face-
up Three (photo 74).
Only 4 cards are held in right hand now. The
Three is face-up second from top of deck.

❾ Continue by peeling off the Four in the usual manner, taking it under the right
hand packet between both hands (photo 75).

Don’t speed the peeling off of the cards. Take your time. The main point is to get a steady,
flowing rhythm.
The modified Biddle grip makes the right thumb break get-ready easier.

Historical data.— The technique has been originated by the American card expert
Edward Marlo. It was published for the first time in the magazine New Tops (1964).
Atfus stands for Any Time Face Up Switch.

75

• 40 •
 Ascanio spread
To openly display 4 cards
while hiding one or several others.

76
❶ The set up of 5 cards is as in photo 76.
The “X” card is between the 4 Aces.

❷ Hold the packet face up in left-hand

dealing position, then grasp the cards in 77
right-hand modified Biddle grip
(photo 77).

❸ Each card is going to be separated from the 78

others, the remaining double will be kept by
the right hand. Place the left forefinger un-
der the packet and pull the bottom card to
the left (photo 78).

• 41 •
❹ Place the tip of the third left finger (the 79
little finger may be used) under the next
card and pull it to the left too (photo 79).
❺ Press the left thumb on the face of the
top card to keep it steady, then slide to the
right the double card with the right hand.
Simultaneously, the left thumb slightly
pulls the top card to the left (photo 80).
❻ You are going to move the cards using
small circular motions in all directions in a
sort of snake-like ondulations. These ac-
tions are going to impress the spectator’s mind that the display is fair and above board.
Move the double card by holding it at upper and inner right corners (photo 81).

80 81

❼ The two lower cards are animated by the left forefinger and third finger.
❽ All the cards will be moving and sliding against each other during a very short time.
❾ Close the spread, then square up the cards. The audience has seen only 4 cards.

In the original technique, the cards were held by the long sides. Once you have mastered this
technique just described, you might like to try the first handling. If you want to place the
double card on top of the packet, slide the top card with the left thumb to the left, then place
the two cards as one on top of the packet once the top card has cleared up on the left
(photo 82).
Depending on your needs, you can replace the double by a triple, a quadruple…

• 42 •
Notes
Ascanio published several
variations and refinements of
his basic sleight, such as the
“Las Palmas spread” or the
“Sincere display”. Some of
these are explained with full
details in French video-tape
Ascanio Seminar. A special
Imagik issue dedicated to
Ascanio has been published
in 1997.
82
Historical data.— This technique was developped and
refined by the Spanish card expert Arturo de Ascanio.
This sleight took by storm the FISM convention held in
Amsterdam 1970.
It was first published in the Spanish magazine
Illusionismo in 1971 under the name of “El culebreo”
(the snake).
Dutch magician Fred Kaps popularised the sleight and
named it the “Ascanio Spread”. In 1972, Brother
Hamman published a variation in Pallbearer, using the
modified Biddle grip. This technique is the most used to-
day.
• 43 •
 Complete
false overhand shuffle
False shuffle keeping the whole deck in order.

❶ Hold the deck face down in left-hand dealing position. The backs of cards are to-
ward the spectators.
❷ Grasp the two bottom thirds of the deck by the small sides with right thumb and
second finger. The right forefinger is folded behind the bottom card (photo 83).
❸ The right hand
begins the actual
shuffle, lifting the
83 84
deck as the left
thumb holds back
the top half of the
deck (packet A).
The right hand
moves slightly up
holding the rest of
the deck (packet B;
photo 84).
This move is better
than the one which
keeps the left hand still
while only the right
hand moves with the
bottom half.
85
❹ With left thumb, run few cards one at a time
on the packet A, let’s say five cards, then place
the remaining cards (packet B) on top of all.
❺ The packet B is not completely released on
packet A, but the right forefinger keeps a break
between the two parts of the deck (photo 85).
This fingering allows the right hand to regrasp
the upper portion (packet A) without any stall
while the rest of the deck remains in left hand.

• 44 •
❻ Run down the same number of single cards (five) on top of the left hand cards.
Drop the rest of right hand on top of left hand ones. Deck is back in order.

Contrary to false counts, the rhythm of the running down can be varied. For example, peel
down on the 1, 2 count then on the 3, 4 and 5 count for the first running sequence. Then al-
ternate 1, 2, 3 then 4 and 5 for the second sequence. This technique is more convincing.
More convincing also will be the shuffle if you start by lowering down the top part of the deck
with left hand instead of moving up the bottom part with right hand.
If you want to perform a second false shuffle, the forefinger must be replaced behind the deck.
Practice in order to get a steady pace and rhythm. Check how should look the “true” shuffle.

Historical data.— This technique has

been originated by the US magician
Dan Garrett.
It was published in issue number 11 of
the French magazine Imagik (April
1996).
It is essentially based on the descrip-
tion of the overhand false shuffle from
G.W. Hunter, first published by Will
Goldston in march 1920 in The
Magazine of Magic, vol.7 N°4 p.81 .
This version doesn’t use the stepping
condition and the stall necessary while
exchanging the two packets.

• 45 •
 Double lift
and double turnover
❶ Hold the deck face down in left hand
dealing position. Use the thumb to push the
top two cards until their right side slides
over the pads of the middle and ring fingers
(photo 86).

❷ Bring the two top cards back to the left

and line up with the top of the deck. At the
same time, press up with the left little finger
in order to get a break under the top two 86
cards.
87
❸ Bring the right hand over the deck, palm
down. Place the thumb at the inner right
corner and the second finger at the outer
right corner in order to take the double card
(photo 87).

❹ Retract the left thumb as though it was

preparing to push over the top card and pull
the double card to the right with the right
hand, the left thumb moving along with the
card. 88
It should look as though you are pushing
the card over the right (photo 88).

❺ Pull the double card farther to the right

until its left side reaches the right side of the
deck. Then press the left thumb lightly
against the back of the double card, causing
it to pivot (photo 89) and turn face down
(photo 90).

• 46 •
89 90

❻ Move the left thumb to the left in order 91

to complete the turnover of the two cards as
one (photo 91).
Keep a left little finger break under the two
face-up cards.
The right hand can now release its grip.

❼ Repeat the above moves to turn the two

face-up cards as one face down. With left
thumb, push the top card to the rigth.

The double lift (and double turnover) is an in-

direct technique somewhat illogical: the card,
after beeing shown face up, is turned over the
top of the deck instead of beeing dealt directly
by the right hand.
For this reason, it is recommended to pause
slightly before taking back the top card while
giving the right hand something else to do:
move the card case, any object which could be
on the way…
There are dozen of methods to handle two cards
as one. I will mention, among the old ones, the
“Hit double lift” by Dr. Daley, and among the
more recent ones, the beautiful “Push double”
by Spanish magician Damaso.
Historical data.— The first description
of the double lift appeared in a
German book Kürtzweilige neu-erfun-
dene Kahrten-Künste published in
Hamburg in 1678. The first description
in English is in the merry companion
of Richard Neve published in London
in 1716. The first description in French
can be found in a booklet called
Amusemens physiques et experiences
divertissantes by Antoine Castelli pu-
blished in 1810.

• 47 •
 CHRONOLOGICAL
CREDITS

first technique author

publication or inventor

1678 (in German) double lift

1716 (in English) double lift Richard Neve (author)
1810 (in French) double lift Antoine Castelli (author)
1902 Erdnase break Erdnase (author)
1902 tabled double-cut Erdnase (author)
1902 tabled slip-cut Erdnase (author)
1919 Jordan count Charles Jordan
1920 false overhand shuffle G.W. Hunter
1927 pull down John Booth
1933 thumb base break Veneri
1940 buckle Unknown
1942 multiple swing cut Edward Marlo
1946 double cut in hand Dai Vernon
1947 Biddle move Elmer Biddle
1958 Hamman count Br. John Hamman
1959 Elmsley count Alexander Elmsley
1962 Tilt D. Vernon/Ed Marlo
1964 Atfus Edward Marlo
1955 Optical count
(flushtration move) Norman Houghton
1970 Ascanio spread Arturo de Ascanio

About credits.
The cited credits are the updated ones considering the today situation of historical researches.
Thanks to the French association S.I.A.M. (in English, International Society of Magic Arts)
for giving us support and great help in our researches for the correct credits.
The “historical data” is the copyright of S.I.A.M. (all rights reserved).