Flourishes

Introduction

Flourishes are certain movements with the cards which do not come under the heading of sleights, since they are done openly. In general they are used to show elegance in handling the cards; sometimes, however, they serve a more useful purpose, that of misleading the audience as to the moment when an effect is really brought about. Used in moderation they are a decided asset to the card conjurer, but when carried to extreme lengths they defeat the very object that the magician should always have in mind, namely, that the effects he produces are done by magic and not by skill. A series of brilliant flourishes leaves only the impression of juggling skill on the minds of the onlookers, and the performer’s feats are dismissed by them with the remark, “He’s clever with his hands.” The simple flourishes which follow are legitimate, for some of them are already in fairy general use among card players.

[Note: This introduction establishes the fundamental philosophy of card magic that remains relevant today – that magic should appear magical rather than skillful. The authors’ emphasis on moderation in flourishes reflects the classical approach to magic performance that prioritizes the magical effect over displays of dexterity. – RJW]

[Note: Since The Royal Road to Card Magic was first published in 1949, the landscape of card handling has evolved dramatically. While Hugard and Braue focus on sleights as tools for mystery and deception, a modern movement known as cardistry has emerged — emphasizing visual flourishes and dexterity as an art form in itself, separate from traditional magic. Popularized in the early 2000s by creators like Dan and Dave Buck, cardistry now has its own global community, competitions, and aesthetics, transforming the humble deck of cards into a medium for kinetic expression. This divergence underscores how even foundational techniques from this book can take on new life in contemporary performance. – RJW]

Displaying the Top Card

A. For Intimate Performances

Instead of taking the card off the pack with the right hand to show it to the onlookers, make the following moves:

  1. Hold the pack in the left hand in dealing position.
  2. Push the top card off about an inch to the right with the left thumb.
  3. Bend the top phalanx of the index finger under the card, near the upper right corner, and bend the same phalanx of the middle finger on the back of the card, which is thus gripped between the two fingers (Fig. 20). Insert the tips of the ring and little fingers under the card and with them grip the rest of the pack.
  4. Extend the index finger and middle finger, carrying the card away to the right and turning it face upwards in the action. At the same time press the thumb on the back of the pack (Fig. 21).

This pretty little flourish can be used to good advantage for counting off a small number of cards when it is necessary to name them as they are counted. Each card is taken by the right hand as it is flicked off and turned face upwards by the left hand.

B. For Intimate Performances

When a chosen card has been found, for example after dealing to a certain number or on the last letter after having spelled its name, the following is a neat method of displaying it:

  1. Push the card off with the left thumb and take it by the middle of its right side between the top phalanges of the right middle finger on its back and of the ring finger on its face (Fig. 22).
  2. Place the tip of the right thumb on its face and turn the card to a vertical position between the tips of the thumb and middle finger, bringing the face of the card toward you (Fig. 23).
  3. Place the tip of the index finger on the face of the card and move the thumb to the back. Release the middle finger and with the thumb cause the card to revolve, bringing its face outwards and toward the spectators (Fig. 24).

This intriguing little flourish provides a momentary pause and thus heightens the climax, which is the revelation of the card. Also, since it brings the face of the card toward you first, you gain a precious moment in the event of a mishap which should be a very rare occurrence, but accidents will happen to the most careful of card conjurers.

[Note: The authors’ acknowledgment that “accidents will happen to the most careful of card conjurers” reflects their practical, realistic approach to magic instruction. This flourish allows for error recovery, which is crucial in live performance. – RJW]

C. For Platform Performances

On the platform this would be your handling:

  1. Push the card off with the left thumb and grasp it at the inner right corner between the right thumb and index finger, holding as little of the card as possible.
  2. Move the card slowly to your right, so that it does not obscure your face. Hold it at about shoulder height, turning it vertically face outwards.

[Note: The distinction between intimate and platform performances reflects the different requirements of close-up versus stage magic. Platform work requires larger gestures and considerations for sightlines that don’t apply in close-up situations. – RJW]

The Ruffle

The object of this flourish is to produce a crackling sound with the cards at the moment that some feat of magic is accomplished. The purpose is to mislead the audience into the belief that the feat is actually done at that moment.

A. With Both Hands

Proceed as follows:

  1. Hold the pack in the left hand, as for dealing, but with its outer end protruding about an inch over the index finger.
  2. Press the left thumb firmly down on the middle of the back of the top card and with the tip of the right middle finger bend the outer ends of all the cards upwards about an inch (Fig. 25).
  3. Release the ends of the cards by drawing the right hand away sharply. Being freed thus in rapid succession, the cards strike one against the other and produce the sharp crackling sound required.

Some performers get into the habit of using this flourish almost continuously with neither rhyme nor reason. This is not only inartistic but also irritating to the audience, and it betrays nervousness on the part of the performer. The flourish should be used only for the purpose of misleading the onlookers as to the moment when a certain effect is supposed to take place.

[Note: The ruffle is a classic misdirection technique that creates audio misdirection. The authors’ warning about overuse reflects their understanding of the psychological impact of repeated actions on audiences – what modern magicians call “spectator fatigue.” – RJW]

B. With One Hand

In this case the method is somewhat different:

  1. Hold the deck in the left hand as for dealing.
  2. Bend the index finger under the deck and with the first phalanx of the middle finger bend the cards downwards toward the palm of the hand.
  3. Allow the cards to slip off the tip of the middle finger by bending that finger inwards, producing a prolonged crackle (Fig. 26).

A slight wave of the hand will cover the action.
[Note: This is one that I can not get the hang of. Instead I just use my left thumb and riffle down the outer left corner of the deck – RJW]

C. With a Single Card

Sometimes it is desirable to produce a similar sound with one card—for example, when one card is apparently changed to another. To do this, hold the card in either hand between the index finger and thumb. Rest the other three fingers, one above the other on the index finger. To produce the required sound, press the three fingers inwards and let them escape and strike against the card in rapid succession (Fig. 27).

[Note: The single card ruffle demonstrates the adaptability of the principle. Creating similar audio cues with different methods allows for consistency in presentation while adapting to different situations and effects. – RJW]

The Click

A single sharp clicking sound can be produced at any moment desired in the following way:

  1. Hold the pack in the left hand as for dealing.
  2. Bend the ring finger under the deck and with the tip of the little finger bend two or three of the bottom cards downwards and inwards against the bent ring finger (Fig. 28).
  3. Press outwards with the ring finger and let the cards escape by moving the little finger away. A sharp click will be heard as the cards strike against the bottom of the deck.

[Note: The click provides a more subtle audio cue than the ruffle, useful for moments requiring less dramatic emphasis. This technique demonstrates the authors’ attention to having multiple tools available for different dramatic needs in a performance. – RJW]