Magic Tutorial – CLOCKWORK


Love is watching someone die, and watching someone die is hard. Charlie… Charlie, Charlie…
Charlie Hi, I’m Daniel Madison. Welcome back
Fanx for being here. Fanx . Appreciate it truly to spend a bit time with me especially when I’m travelling, when I’m have gone which I have all the time coz I’m all troubled bound to deliver some special codes to some special people before for I take a few minutes talk about my aww.. my new Ace of hearts tattoo and want to teach you something called Clockwork. Clockwork is a pretty little idea where I take a King it turns into the Ace of Hearts. Ace of Hearts then turns back into the King And it keeps going and it keeps going and I’ve been doing this for quite a few years and I once taught it many years ago in my Youtube channel and it’s changed somewhat over years. The first few parts that I love the way you do the double lift, the way you flick the card the way that they stay together, the way that you sleep it and it seems to change for those potatoes. [Coughs] [Inhales heavily] But I like the idea of giving you the first few parts and teaching the first few parts and then you take it away and do what you want to do with it. So I’m gonna teach you the first part. I’m gonna teach you how to do double lifts, get to the end, to the final reveal of the Ace of Hearts and then take it. Do what you want with it. Without further adieu, take a look at this move. So this begins with an interesting double. Now, I’m holding a break underneath the top two cards with finger four. My thumb is pressing against the top corner of the deck here, the top index corner. Now finger two of the free hand is gonna come up and lift those two cards and the thumb goes on top, so I pinch at here and then with help from finger one, I extend onto my thumb and then I turn it over like this to reveal the King. and I grip with my right hand off ya grip so that those two playing cards stay together as I flick like this The deck hand then makes a Charlier cut with I’d say about quarter of the packet. So you want a small packet going on top of these two cards here. So they clip that card in place Once you’re in this position, don’t press down too hard because you need these two cards to move as one. We’re gonna flip them in a second and they’re gonna spin around here. If you hold it too hard this happens. They don’t move too far. Whereas if you relax a little bit, it goes around here and this part of both cards stops on the crunch of the deck hand like this. So, from the beginning: two playing cards is the fastened,the top is King of Diamonds. Thumb is holding them together here. I do this crazy double. Poing! Kick off my thumb, if that’s the right word. Charlier cut A quarter of the deck to catch this card and then flick so the two cards stay together as one. When they hit the hand here that keeps them out together too. So, once they’re at this position, the free hand is gonna come over and completely hide the card. It’s gonna cover everything. Finger one’s gonna go underneath and press upwards to add some pressure So when finger one hits here the palm of my hands go to the top of the card right about here, I’m gonna push that card away so pops out of the deck like this and I’m then gonna pull it over the deck here and working underneath the deck and underneath the deck all my fingers are helping each other to pull that card underneath. So it looks like this now, you know, what’s going on? I’ll try to expose the performance of this. So turn double. Double poink Charlier clip, flick here. Finger one underneath. Palm of the hand like this. I go forward and then I pull it on top of the deck like so. The fingers pull that card underneath Now, notice how this hand – the free hand helps that card go underneath it ends up in this position Because it’s in this position, we take a edge making grab hold of the card. Pull that out. Now, if you watch this, it looks like the hand goes from here to here to here It looks like a very natural flow of movements. I’m not going anywhere that shouldn’t be just looks like my hands doing every – doing a really natural thing. So again from the start. This boink. Charlier. Flick. Natural movement as my hand comes over here. I plip that card out of the deck and you might want to do a little spin, that’s up to you. I bring the card over here and rotate one, so it lands on top face up I pop that away from my finger like this. So it goes and lands face up. Now I’m gonna take the deck from above like this, cut the deck in half into this hand. The thumb is gonna push the Ace up slightly like this. As that happens all the attentions drawn onto this card. This hand, then, makes contact with fingers 2 and 3. onto the King The King’s now on the bottom and I peel it away from the bottom of the deck like this As the left hand turns face down to show the back of that Ace. So now expose: I have the King on top of the Ace from this position It looks like I’m just showing you back of the Ace. Now I press away from the deck like this As my thumb strains that King on top of the Ace. Lift them and both those cards away from the deck as I turn them over. This gives me a huge break to insert the rest of the deck inside like this The cards in position for me to just grip in here Turn it face down. Spin and reveal. So once again quickly from the top: Spin. Boink. Charlier. Clip. Flick Steal. Move under the deck. Pluck. Spin. Pop. Cut. Steal. Show the back of this. Finger one presses up. as I align them. This packet it goes underneath the gap. Double, face down Push it off. Spin it. Reveal it. And that’s why I called Clockwork, now I have few notes so let’s change So I did teach Clockwork a while back and it was much more intricate. There was a lot more happening. There was a lot more color change it involves and moving parts but over the years I’ve found narrowing it down to this snappy little cute, little interesting thing is the best way forward It’s just a little snappy thing Maybe it’s a way of introducing a playing card that you’re gonna use for something else. I wouldn’t necessarily use it as a color change just for sake of it being a color change I was like these kind of flourishy snappy little whiz of just introducing that Ace of Hearts you know changes into King, changes back to the Ace But, the main reason I wanted to put this back on film was to give you something to make your own. I love the first few parts of this idea. The first: twisting those playing cards face up, the Boinky Boink move. I love the Charlier inside. This part is really nice. Because one participant sees this first of all the way you turn them over is bizarre I’ve never been a fan of doing double lifts like this. But in this case, it’s very acceptable because it feels like a flourishing that looks like a flourish So it looks like it’s a meant to be turned over that way. I really don’t like it when magicians do this turn over Just the show there is only one card in the hand because it’s what strange thing to do. Why would you do that? I’ve spoken about this before already much on I won’t repeat myself, but in this case, because it’s a flourish itself – it’s kind of a flourish. It makes sense and it feels okay to turn two cards over like this because really you just presented as one playing card in a flourishy way and especially when it continues and all these strange and interesting things are happening. I know that I’m over-justificationing I know I’m over-justifying this book. So the first move is really nice to the boinky boink move Charlier inside. This is beautiful, I think Flicking here because it looks like if there were more than one playing… If there was more than one playing card there surely at this point we would be stumbled so it would separate so it’s really nice more than what you can flick it and they still stay together. The flick itself causes those two playing cards to stick together, but even if they come apart somehow during that spin around, when it hit your hand over here that turns to back up, which is a really beautiful thing. This is probably going to take the most practice: the actual flicking part. The rest is quite easy. That is quite easy. This is quite easy, but then when you flick if its too much pressure it’s not gonna move around properly. Then you’re gonna have to do it restraint angle to do the next part. You really want it to go over there and you don’t want to have to do this to be able to the move because then you’re making it obvious though. It has to be specifically in this position which kind of those. You don’t want them to know that so be gentle when you’re holding the deck, so there’s a lot of airing between the cards so it can get that rotation Be gentle with the way that you flick it as well cuz if you flick it hard, both cards are gonna fall out and it’s game over for you. So get to this point Turn. Boink. Charlier. Clip. Flick. Notice how hard I flick that as one. It still stay in there. That’s just for practice. So you’re gonna have to put a lot of practice to figure out what the right amount of pressure is gonna be that you’re gonna need on this playing card. At this point, it looks like there’s one playing card there and then when you change it when the color change is executed, I think it’s a really magical moment because it looks like nothing could be hidden. The best thing about this the way the reason it works, I believe the reason it works so well is because this hand doesn’t stop moving. If this hand stops moving when you do this trick then you kind of let them know what’s going on. The whole point of this, the whole point of magic all point of magic is that the participant doesn’t know what’s going on. Don’t make it obvious that your fingers gonna go up and press up against the back That shouldn’t be an obvious moment. I don’t do that until my hand is over here so that they can’t see it. If they know that this actually support under there, if they see this finger then they might start thinking, “Ah, he’s doing that, because of this, because of that.” You’ll never know. I like any deception any deceptive practice needs to look clean. These look fair. And if they see the fingers moving when they shouldn’t be moving then it just draws suspicion so you want to avoid that. So come over here then move the finger. Be very gentle with this hand. If you can afford to, have your fingers opened. No reason why they need to be closed. At this point where I go like this, my fingers can be open and I don’t want to be covering these two playing cards for too long. I don’t wanna be here And then do move. I wanted to be one fell swoop. One continuous motion. From here to here. As soon as that I press down my hand twist to the side to help that card out. Now, when you’re forcing that King of Diamonds, our top card, out of that position notice this noise: You don’t want that noise. That’s a very bad noise. It gives away what’s going on. The way around this is to be gentle. Be gentle with them. When you come forward like this be very gentle but soon as you know it’s cleared now you want pressure. Now you tilt that card so they come back over the top of the deck. Again, keep my fingers open and it’s all one move I go forward I go back to the side and as soon as it’s over the side I know that my fingers can pull it and bend it underneath. Again, be careful with the sound. This hand makes a natural motion over here Pluck and it looks like this hand always doing is cover this card and pluck. If anything if your participant tries to work out it will look like the King of Diamonds simply is pushed into the deck above the Ace of Hearts. But when you try that, it’s actually more difficult than this method. It really is from this position. If you try to push the King of Diamonds into the deck, you won’t be able to do it. You won’t be able to it. But you will but it will look awful. So from here from here looks so fair because this hand’s moving so openly and so freely and nothing is going on. So when you plick confidently, you can spin it if you want to. I like to spin it some time and then flick. Make sure it lands face up. If it lands face down like that then, you can a bit throughout the flow. You’re ruining the flow of it. So you want it to land face up like this. You don’t need to do this but you might feel like you need to get a break between the bottom card and the rest of the deck to separate making this next moment easier You don’t need to do it. It’s something about your nature something about the way you perform the way that you know, how you handle playing cards with. Probably tell you to make sure that both playing cards away from the deck. Don’t need to do it. And I’m saying this because that’s what I used to do. So now I’m free. I can just hold the deck freely and carelessly I take deck from above Cut. As I cut, my fingers make contact with the bottom card like this. It’s very natural. Looks like I’m… Looks like I’m handling everything fairly Because if I do this then bring my fingers in there, it’s obvious whereas if I do this and start pulling this card away right that very moment, all the attention is at the moving parts and I’m forcing the moving parts to be the Ace of Hearts. So I’m forcing where you’re gonna look. This is attention direction, not miscarriage So I go here. My fingers make contact at the same time. My right, my left… My left thumb – don’t know the difference between right and left, really don’t. My left thumb pushes the Ace up at the same time as this card is pulled away from the bottom. Now as soon as I know that it’s been seen that the Ace is up, I start to turn this hand face down. I don’t do anything with this hand. I allow this hand be inertia. Lovely word. The inertia to pull that card into my fingers onto the Ace like this. This should look like you are showing the back of the Ace. I don’t know why. They seems to make sense. So from here, I show the ace here. I push it away from the deck. I showed the back of it. I press up with my finger. All the while I’m going by the way this feels on my thumb and now I’m gonna describe over my thumb and I’m going back way feels. I feel it touch my finger. I know it’s mine so I can turn it over with good timing I leave a huge break, partly goes in here. At this point, this is the break off point. This is a cut off point for me. This is where you take this. Do whatever you want with it. This whole routine this whole of snappy flourishy thing was such a bigger more complicated routine of things happening from this point it went on and on and on. But over the years I just kind of narrowed it down and loved those first two, three moments. From this point, you’re in a position where you’ve got two playing cards tilted. You’re back to square one. You’re back to showing the King of Diamonds. Then you’ve had a glimpse of the Ace of Hearts So now you’re in a position where you can do whatever you want with this. So turn to different trick, turn into another flourish if you want. Into another kind of colorfully pretty little magical thing for me. Very simple. Turn it face down. Take the top card. That goes away. Spinny spin spin spinning turn. I then reveal. And then back with the Ace, You can extend it however you want. you can reveal the King maybe in the pocket. You can make it then vanish, goes to your pocket. That’s up to you. The whole point of this: I just want to get those… The turnover, the flick, the top change what you want to call it and then the final inertia. Why you wanna call it the final move where you just do double lift basically. [Heavy Sighs] That was a long… Outro So that was Clockwork. Hope did you enjoy it. As always if you use clockwork or anything I teach on the social networks, don’t tag me. It leads your audience to me when they discover the method and bad for magic. Make sure you subscribe so you get my notification bell going. Ding… Next time, I got a new tutorial. Back soon with some all new tutorials, but right now I’m Daniel Madison. See you next time Love is watching someone die and watching someone die is hard. I don’t believe that this is an unhappy or depressing or a a negative statement I think it’s such a beautiful thing. And one of the most beautiful playing cards I’ve ever seen for sure So beautiful, in fact, I’ve just had it tattooed with my back. So this is the Ace of Hearts from the Misc goods playing cards designed by Tyler Deeb I believe in 2014. When I first saw this playing card, when I first saw the deck actually really stuck with me. Everything about it struck a chord. And it became something so meaningful to me instantly and then this playing card It’s been with me since then, since the first day I got hold of this deck and now it’s on me forever. Anybody can relate to this line. Anybody can kind of understand… [Fading]

Dereck Turner

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