In and Out Faro Shuffles

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Before continuing, I must mention that the technical terms In and Out, as applied to a Faro Shuffle, were introduced by Alex Elmsley.

Briefly, they mean just this; An In Shuffle is one in which the original top and bottom cards change position to second from the top and second from the bottom. The twenty-sixth and twenty-seventh cards, the top and bottom cards of the two packets just cut, become the new top and bottom cards of the deck. In this way each In Shuffle keeps changing the top and bottom cards.

An Out Shuffle, as applied to the Faro or Weave, is one which retains the top and bottom cards. Eight Out Faro Shuffles return a deck to its original order. For the present the above information will suffice but the student is referred to Chapter Seven, Faro Notes, for more detailed information. Here, then, is the First Technique:

The First Technique

This first method gives good control of In and Out Shuffles as well as allowing one a good view as to his success or failure with the Weave.

1. Square the sides and ends of the

Eack as evenly as possible with both ands. The left thumb and second finger press on the sides of the deck to square these sides while the right thumb and second finger press on the ends of the pack squaring them. The forefingers of each hand are curled on top and bottom of the deck respectively.

2. The pack is turned on its side so that the left side now faces the performer.

The right hand releases its grip while the left fingers assume the following position: The tip of the left forefinger is placed at the front end of the deck. The ball of the left thumb is slightly above the center of the deck on its left side. The left second, third and fourth fingers are on the right side of the deck with the right side of the deck pressing against the first creases of the left second and third fingers while the left fourth finger has its full tip pressing up against the side.

The position is pictured in Figure 1 which is a view as seen by the performer looking down at the pack.

Figure 1

3. The right hand conies over to cut or break the pack. The left fourth finger moves out of the way so that the side of right second finger comes in contact against left third finger. The right forefinger is curled on top. While the right second, third and fourth fingers press on the under side of the pack, the right thumb comes over, close to the left thumb and slightly below center, to break the pack at the twenty-sixth card. Figure 2 shows the position of both hands as seen from above by the performer.

Figure 2

4. For the present we will assume you have cut at the 26th card or perfect center of a 52 card deck. Details will be given later for insuring such a cut.

5. Having split the deck, place the two halves against each other at the comers only as in Figure 3 which is still the operator's view.

6. The view of the cards from the top or as seen by those from the front is as in Figure 4 where it forms a sort of V.

Figure 4

1. In Figure 3 you will notice the cards are in a fairly straight line but now both hands move slightly inwards towards the body causing the packets to assume the slightly angular position as shown in Figure 5. Also notice the slight V formed at the joined corners of the pack.

8. At this point the grip of both hands must be firm to prevent any slipping of the cards in either packet. Also, the right forefinger presses down rather firmly on top of its packet causing a slight bow.

9. With the cards as in Figure 5, the corner of the right hand packet is pressed firmly upwards against the corner of the left hand packet. At the same time, the right hand is moved sharply, but slightly inwards, towards the body, for about a quarter of an inch. This upward and inward action causes the cards to start weaving as in Figure 6 which shows an Out Shuffle being started.

10. The inward action is only for a distance of about a quarter inch. At this stage the packets are as in Figure 7 with the right hand packet as seen moved inward. The view is from the front, of course.

The right hand, still maintaining its upward pressure, moves its packet forward easily, to its original position in line with the left hand packet as in Figure 3. This forward movement of the right hand packet causes the weave to complete itself as in Figure 8. At the same time, both hands also move the packets into a straight line.

12. The view, after completion of the weave, as seen from the front is as shown in Figure 9 where you will note both corners are now in line again. It must be borne in mind that the inward and forward action of the packets become very slight, almost unnotice-able, with practice.

Figure 9

13. With the Faro completed, push or telescope the packets into each other for about a half inch or more as in Figure 10 which is a front view.

14. With the cards held as in Figure 11, the left third and fourth fingers move in under their projecting packet.

The left thumb, plus the first and second fingers, release their hold of the projecting packet with the result that the cards are more or less momentarily balanced on the nails of the left third and fourth fingers as in Figure 11.

16. The right hand revolves the deck, on the left fingers, to a horizontal position while the left hand turns palm upwards to receive the deck onto the left four fingers as shown in Figure 12.

Figure 12

17. The left thumb reaches out over the deck in order to press down on the top card, of the opposite portion, as in Figure 13.


18. The pack is now held solely by the left fingers and thumb. This leaves the right hand free to assume a similar position on its side of the deck as shown in Figure 14 in readiness for the TwoHandedSpringFlourish.

Figure 14

19. Keeping pressure with both thumbs on top of the deck, the fingers of both hands press upwards against the cards from below thus firmly trapping each section between thumbs and fingers. Both hands then move down and in towards each other in order to bend the middle of the pack upwards as shown in Figure 15.

Figure 15

20. Maintaining the inward pressure of both hands, as well as the thumbs on top, the left and right fingers move down to cup themselves, as in Figure 16, below the arched cards. At this stage, if the inward pressure and thumb is maintained, the cards will remain as in Figure 16.

21. Keeping the pressure on top with both thumbs, gently ease the hands outwards thus releasing the side tension, allowing the cards to cascade downwards into the cupped fingers as shown in Figure 17, an action view of the Two Hand Spring Shuffle.


22. Upon completion of the cascade, the cards will be lying flat in the cupped hands. Hold onto the deck with the right thumb and fingers while the left hand moves away. Immediately, the right hand places the deck face down, into the left hand which takes the deck by the sides with the left thumb and fingers, left forefinger curled underneath. The right hand now comes above the pack to grasp it by the ends. The deck is now squared, with both hands in the usual manner and again positioned as in Figure 1 for a repetition of the Faro Shuffle if needed.

While the Two Hand Spring Shuffle, Figures 11 to 17, may seem just like an added flourish it does have its important purpose in the Faro in that the eventual squaring of the weaved cards becomes much easier and faster than otherwise. This, plus the fact that it adds an air of abandon to the Faro Shuffle itself. Be sure to bend the pack upwards again, after the Spring Flourish, to straighten pack.

Here are a few variations on the First Technique that some may find to work better for them.

First Variation: Here the proceedure is exactly the same as before except that the packet, cut off by the right hand, is held at the extreme ends. Figure 18 shows the left thumb at the center on its packet but the right thumb and fin-

fers at the extreme ends of the right and packet. The shuffle is shown in the process of being completed.

Second Variation: This second variation follows the exact proceedure for the First Technique except here both packets are held at the extreme ends. The right forefinger presses down on top of its packet in order to slightly bow these cards along their length. The position of both hands is shown in Figure 19. Many will find this variation quite easy under certain conditions.

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Fundamentals of Magick

Fundamentals of Magick

Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.

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