Yet Another Magic Painting!

JOHN BREEDS
YET ANOTHER MAGIC PAINTING!
JOHN BREEDS
John Breeds was born at a very early age, in Portsmouth, England. Although he was a magic nut
from birth John started professional magic in 1978. He is a past President of the UK’s prestigious Cotswold Magical Society, and has served on its Committee for several years.
In the early years, after graduating, he qualified as a chartered telecommunications engineer and
from there went into technical training. He then moved into senior management, marketing
and, finally, as the product manager of Nokia Satellite Europe. John Breeds was one of the
pioneers of satellite television in Europe during the early 1980s, and wrote several respected text
books for satellite TV engineers and dish installers. More recently he also authored the highly
successful book How to Create Kids’ Magic and Triple Your Income (Practical Magic). In addition
to entertaining, John has also created and invented several tricks. One trick, which he invented
around 1966, is called, Visible Magic Painting. Thousands of magicians the world over regularly
use Visible Magic Painting. John Breeds’ trick is generally acknowledged as being the best
children’s effect invented in the last century! The effect is that a black and white line drawing
visibly becomes coloured.
email: [email protected] web: www.johnbreeds.com and www.magicboxcapers.com
Yet Another Magic Painting!
Introduction:
In my book How to Create Kids’ Magic and Triple Your
Income (published by Practical Magic) I fully described the
workings of the very well known Visible Magic Painting. I
had no qualms about explaining and revealing the inner
workings and variations of this trick since I invented Visible Magic Painting (VMP). Well, someone had to blow my
trumpet about the secret of an effect of which I am most
proud!
Since the publication of the book, a few people mentioned
that VMP must be difficult to construct as a DIY project
since it involved coloured printing on card and monochrome printing on an acetate layer, both of which must
be precisely aligned with each other.
The following describes an incredibly simple method of
constructing a Magic Painting effect, yet is just as effective
as most of the Magic Painting effects that are currently on
the market. Furthermore, the routine uses a helper to add
to the fun, and gives credit to both the child and the audience for making the magic happen – an essential element
in children’s entertainment.
Requirements:
You need two A4 cards; about 150gsm or the thickest that will go though a home printer. Better still, use
normal photo quality paper and paste the picture onto
card. Use suitable clip art to print a clown picture that is
fully coloured on one of the cards. On the reverse of the
coloured card, paste an address label: ‘To My Granny’. On
the other card print a similar clown picture but change all
the colour portions to white. The result is a mono picture.
This is very, very simple on any PC graphics package.
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THE WORLD OF CHILDREN’S MAGIC
Envelope Holder
Although the sketch shows a
shaded colour envelope, in fact
you need a white envelope. This
is so that the flap left behind is
not noticeable. The envelope
also needs to be quite robust.
I made mine from ‘Tyvek’ for
durability and easy cleaning.
The angled cuts on the window
opening allow for a fumble-free
placement of the insert.
Also cut out a hinged flap at
the base of the envelope. This
allows the left-hand fingers to go
in and ensure that the coloured
card is pulled out by the right
hand fingers, while the mono
picture stays behind in the
envelope. The diagrams show
the general idea.
Trim the two cards slightly so that they will easily slide
into a white A4 envelope. (The envelope shown here
looks shaded but this purely for illustrative purposes.) The
colour picture card is loosely encased in acetate sheet by
tape at the top and sides. The bottom looks as though a
length of tape runs along it but, in fact, it’s open, so that
the card with the mono picture can be pushed into it. The
result looks like a black/white picture of a clown, with an
address, ‘To My Granny’ on the reverse.
You also need a robust white A4 envelope, with an A5 window panel cut into it. Google search a non-tear paper, such
as ‘Tyvek’, to construct your own envelope. This plasticbased material will not only last for years but you can
easily wipe it clean. The angled cuts on the opening and
window allow for a fumble-free placement of the insert.
Also cut out a hinged flap at the base of the envelope. The
diagrams show the general idea.
Page 26
Working and Presentation:
I will not give my actual patter as this largely depends
on you and regional differences. Explain that it’s your
Granny’s birthday today and you’ve bought her a beautiful picture of a clown. Show the insert, which displays a
monochrome picture. Do NOT draw attention to the fact
that it’s only a mono picture, but emphasize that you need
a helper to act as a postman to deliver it.
After the usual introductions, place the insert into the
envelope BUT with the mono picture toward the back
of the envelope. This means the ‘To My Granny’ address
shows through the envelope’s window. Ask your helper to
drive the package to the Post Office sorting department.
Have some fun here with things like, “Start up the engine
please, Freddie.” Freddie makes an engine noise. Say to
him, “Hang on, Freddie. You first of all need the keys to
start up the engine.” Ask him to pump up the van’s tyres,
or clean the wind screen, fill it with fuel, etc.
HOUDINI’S SQUIRT GUN ESCAPE
DOUG SCHEER
DOUG SCHEER
Doug Scheer is Michigan’s #1 elementary school performer. He is widely recognized
as one of the country’s top children’s educational performers having won “Best
Assembly Performer” by the KSGB (Kid Show Guru Brain trust) and is a featured
lecturer to his peers at the international conference, KIDabra. His work has been
published as the contributing school show expert in the national trade magazine,
MAGIC, for four years and he was even invited to perform at the White House in
2008.
His roster includes 11 educational shows that are seen at trade shows, corporate
training seminars, and state fairs and have been in over 8000 elementary schools and
libraries throughout Michigan and Ohio.
The KIDabra Journal said this about Doug: “Doug’s commanding voice and impish
playfulness has endeared him to hundreds of thousands of kids and thousands of
principals. He is a creative genius...who has taken the typical assembly show and
elevated it to near Broadway standards.”
email: [email protected] web: www.assemblyshows.com
Houdini’s Squirt
Gun Escape
I’ve always been a fan of the Kellar Rope Tie, the effect invented by Harry Kellar and re-popularized by Harry Blackstone Sr. and Jr. in the twentieth century. In the routine, a
magician has his hands tied securely behind his back, but
he is able to release each hand alternately while continuing
to show that his hands are still secured. I’ve always felt that
it’s an entertaining routine, clever for adults, but only okay
for children.
In the hands of most performers, it never seems to have a
good ending. Houdini’s Squirt Gun Escape is my attempt
to add some suspense, comedy and a surprise ending to
this classic trick. What follows was inspired by a rather
dark routine first performed by Mel Mellers called The No
Water Underwater Escape. I use Mel’s silly idea of wearing a
snorkel and mask while escaping from handcuffs on land,
but developed it into what has become my closing routine
for children’s shows.
of squirt gun fire. As the volunteers duck and dodge the
sprays of water, the magician tries to make the volunteers
hold their positions with hysterical results. Finally, the magician frees himself, then whips the towel aside producing
a huge squirt rifle and takes his revenge on the audience.
Requirements:
You’ll need The Chain Shackle Escape trick with two
padlocks and key; a gallon size plastic bag containing six
water-filled squirt guns; one large, long range squirt rifle; a
pair of swimming goggles and snorkel; and a beach towel.
It should become apparent that this is not something I’d
ever suggest performing in a home, but libraries, community centres, schools and outdoor stages are the perfect settings for this raucous routine. I’ve simplified the mechanics
of the actual escape by using a common dealer item, The
Chain Shackle Escape, and turned the introduction of this
routine into a running gag of sorts.
Effect:
Six loaded squirt guns are distributed to children in the
front row of the audience; then the magician invites two
volunteers on stage to handcuff his hands together. The
magician challenges the children to shoot him in the face
and try to empty their squirt guns before he can make his
escape. The two volunteers hold a beach towel in front
of the magician to protect the secret of the escape while
he’s able to release alternately each hand under a barrage
Houdini’s Squirt Gun Escape
It should become apparent that this is not
something I’d ever suggest performing in a
home, but libraries, community centres, schools
and outdoor stages are the perfect settings for
this raucous routine.
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THE WORLD OF CHILDREN’S MAGIC
You’ll also need a box or container to hold all the props. I
use a large cooler since it’s watertight and keeps all the wet
stuff away from the other props that I use in my show. The
cooler is placed on a chair or low stool in the left corner of
the performing area.
Working and Presentation:
After the second or third trick in a show, creepy and suspenseful music is heard and the performer says, “Today’s
show is not just all silly and goofy. Coming up at the
end, I’ll be doing something dangerous and deadly...
ooooh.” At this point the magician holds up two padlocks
and waves them around in a campy and silly sort of way,
mocking the upcoming ‘danger’. The audience laughs at
this silliness. Then the performer says, “Forget it.” (The
music abruptly stops.) “You guys aren’t taking me seriously.” A few tricks later, the music starts again and the
performer repeats the same patter, this time waving around
the shackles. Finally, after the penultimate routine of the
show, the same familiar music is heard for the third time
leading into the start of this finale:
“It’s time for the moment you’ve all been waiting for
(creepy and suspenseful music begins again) something
dangerous and deadly! But I will need two helpers who
are brave. I will need helpers who are fearless. I will
need helpers who are not afraid. I will need two helpers
who are…kind of smelly. Two helpers.”
The performer walks into the audience and hands out the
two padlocks to two children, eight years or older. “This
young lady right here, do me a favour: grab hold of this
padlock, please, and take a look at it. Make sure it’s
real. Over on this side, you sir, hang on to this padlock
for me, please. Do not snap it shut; just check it out.”
The Chain Shackle Escape
Removing the shackles from
the cooler, the performer
explains that by using two real
padlocks and something you’ve
probably never seen before –
these old fashioned handcuffs
– he is going to recreate Harry
Houdini’s most dangerous,
most famous escape.
Harry Houdini was a magician
who travelled the world challenging people to tie him up,
to chain him up, and to lock
him up. He claimed that he
could escape from anything.
Page 68
The performer returns to the stage. “You can see those
are real padlocks.”
Removing the shackles from the cooler, the performer says,
“Using two real padlocks and something you’ve probably never seen before – these old fashioned handcuffs I’m going to recreate Harry Houdini’s most dangerous,
most famous escape. Harry Houdini was a magician
who travelled the world challenging people to tie him
up, to chain him up, and to lock him up. He claimed
that he could escape from anything. One hundred
years ago, Harry Houdini created an incredibly dangerous escape called The Chinese Water Torture Cell.
I’m going to perform that escape for you right now.
What you’re about to see was the last escape that Harry
Houdini ever attempted, because a short time after performing it, he died. There’s a possibility the same thing
could happen to me.” (Music fades.)
“If you’re holding onto a padlock, would you bring it
up, please? Give my helpers a round of applause.” The
two volunteers with the padlocks are invited onto the stage
and are positioned on each side of the performer. Let’s say
their names are Ella and Gannon. “Ella, Gannon. You
both took a look at the padlocks. They feel heavy; they
look real, right?”
“Houdini’s hands were locked together with these
special handcuffs.” The shackles are shown then set to
one side. “By separating the hands with this bar, escape
is impossible. Houdini’s feet were tied together and he
was hung upside-down over what looked like a giant
phone booth filled with water. Houdini was lowered
headfirst into that water-filled box where he had to escape or he would drown. I did not bring a phone booth
MAGIC
COLOURING
CLIPBOARD
THE WORLD
OF CHILDREN’S
MAGIC
JOHN KIMMONS
JOHN KIMMONS
John Kimmons started performing children’s magic at the tender age
of 15. He went on to work for Supreme Magic until 1992 and since
then has been developing his unique style of family entertainment.
He has performed in every conceivable type of venue from living
rooms and village halls to theatres, cruise liners and television. In
2008 he was awarded the title of Children’s Entertainer World
Champion and became the first children’s act to receive the Ken
Dodd Comedy Award.
Perhaps his biggest claim to fame is being the co-star in Practical
Magic’s popular ‘Fireside Chat’ series!
email: [email protected] web: www.kimmo.co.uk
Magic Colouring Clipboard
Effect:
The Magician displays a stack of identical black and white
pictures on a clipboard. A child is selected and she signs
her name across the front and back of the top sheet. This is
then removed, folded up and given to the young assistant
to hold. The audience now help to colour in the picture
using ‘invisible felt tips’.
Afterwards, the child is prompted to open up the picture
and discovers that it has been coloured in completely in
felt tip. Her signature remains on the front and back of the
picture, which is given away as a souvenir.
Requirements:
This is based on the Out To Lunch principle. However, it
eliminates the need for a huge elastic band to cover the
join between the top two pictures, the edge being hidden
within the outline of the drawing itself. The clipboard
helps keep everything aligned and in place until the dirty
work needs to take place.
The illustrations show one of the drawings that I use in
this effect (a caterpillar). Notice how the design leaves just
the lower right corner blank for the child’s signature.
The coloured version of this picture features butterfly
wings for added surprise. You will need to make a fake
stack of pictures. Print out 10 copies of the black and
white version on thin card and glue 8 of the pictures
together along their top edge. For ease in handling, make
sure the stack is bevelled slightly to allow you to riffle
through them at their lower edge. (See fig. 1)
Picture Layout Design
This illustration shows one of the
drawings I use in this effect (a caterpillar). Notice how the design leaves just
the lower right corner blank for the
child’s signature.
The coloured picture features butterfly
wings for an added surprise.
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THE WORLD OF CHILDREN’S MAGIC
Set Up:
You will need lots of copies of the colour picture. You
could produce these on your printer at home or get them
done at a copy shop. They should be from the same heavy
paper stock (so the image doesn’t show through) as the fake
stack. You will need one of these for each performance.
To set up the trick, simply open up the clip and slide one
of the coloured pictures between the top two sheets of the
fake stack. Make sure the lower outline on the shorter top
sheet lines up precisely with the coloured duplicate and
then allow the clip to hold everything together snugly.
Fig 1
Cut around the black line at the bottom of one of the
other pictures. Affix this to the last remaining picture with
a Scotch tape hinge along the top edge, making sure the
lower edge lines up exactly with the drawing underneath.
(See fig. 2). This double sheet is then glued along its top
edge to the rest of the stack.
The entire fake stack is then glued to the clipboard with
the top edge underneath the clip, which then conceals
Fig 2
the Scotch tape hinge. The clip can then be freely opened
without the entire stack falling to the floor. (See fig. 3).
This makes the handling incredibly simple.
Fig 3
Working and Presentation:
Select an audience volunteer. As they will be required to
write their name, I usually ask for someone with really
good handwriting. I might add, “Don’t worry, you won’t
have to write a long story or anything like that – JUST
YOUR NAME.” This lets them know exactly what will be
required of them and saves any embarrassment should a
child be unable to do this. Then act slightly embarrassed.
Announce that you needed a picture for the next trick so
you thought you would draw one yourself. Pick up the
clipboard and hold it with its back to the audience, as if
you are reluctant to show them the other side. Ask the
volunteer to name their favourite pet. They will usually say
cat or dog.
Whatever they answer, look disappointed and say, “Well,
I thought you might say cat, but I couldn’t even draw
THAT, so I drew a CAT...ERPILLAR!” Turn the board
round to show the picture. Hold it by one of its long edges
just to make sure that the shorter top sheet doesn’t separate
from the coloured one underneath. For some reason revealing the picture usually gets a laugh, so say: “Oh COME
ON! It’s not that bad. It’s pretty good for my age!!
Anyway, you better like it because I’ve printed out tons
of them!”
As you say this, hold the board in your left hand by the
top edge (where the clip is), insert the fingers of your
right hand beneath the whole stack of drawings and riffle
upwards through them quickly to show an entire stack of
black and white pictures.
Approach the helper and ask them if they like your picture.
They will usually say yes. If they do, act triumphantly and
say, “Hah! See? Helen thinks it’s really good and she
wants to take it home – don’t you Helen?” She will usually agree again. “HAH! In fact, she wants to put it up in
her bedroom, don’t you Helen?” She will probably agree
again. “HAH! In F-ACT (I pronounce it IN FUH-ACT, I
don’t know why – except that I find it funny), in F-ACT...
She is going to pay me thousands and thousands of
pounds for it because she thinks it’s so totally cool and
brilliant! Aren’t you Helen?”
She will usually say no. “HA.…(looking suddenly dePage 71
FEATHER FLOWER PRODUCTION
6-1
TOMMY JAMES
Tommy James
Tommy James is from the United States and makes his living performing
throughout the New England area. He received his first magic set at the age of 10
years old and performed his first paid gig at the tender age of 14 years old.
Tommy says, “I absolutely LOVE what I do for a living and there is nothing else
on Earth I’d rather be doing.” He is a regular on an award-winning television
programme in New England called Safe Kids and Friends where he presents magic
with a safety theme.
He recently created and marketed his first invention – Measle Teasel Wand – and
has released his first DVD, The Halloween Safety Magic Show which is creating a
buzz in the kid-show magic world. Tommy’s inspirations are Trevor Lewis,
David Ginn and Doug Henning.
email: [email protected] Web Site: TommyJamesMagic.com
Introduction:
I LOVE feather flower productions and I always have!
Some may say they are out of style or old fashioned but the
fact of the matter is kids love them and they make a
beautiful production in any magic show. The routine I am
about to share I have been performing for over 25 years
and uses an audience volunteer.
In a birthday party show I always use the birthday child. In
a family show I try to pick a child 8 years old or younger.
This is a perfect volunteer routine for young children
because all the child has to do is stand there, look cute, and
wave a magic wand!
My routine was inspired from a book written by David
Ginn called Feather Flowers From Nowhere. In the book
David shares an invention of his called the Ginn Cloth
which is a single bouquet production. My routine is
different from what David describes in his book but the
ending is the same as a bouquet of flowers appear. I had
my grandmother sew me up a Ginn Cloth and off I went!
Before we get into the routine let’s see what a Ginn Cloth
consists of.
A Ginn Cloth is a large foulard which can be made of any
material you desire. The top of the foulard is folded over to
form a pocket at the back and has an opening half way
through so you can load and hide a feather flower bouquet.
My dear Grandma was great with a sewing machine and I
had her make a “border” around a Rice’s Dragon Silk to
give it a nice flashy appearance. The finished product is