Blend

Blend is a close-up routine using a prepared chewing-gum packet. Julio Montoro presents an apparent tear of the top section and restores it in a displaced position. That first solution creates another problem: the box can no longer close. A second phase shifts the section representing the chewing gum and allows the packet to close. The lesson includes a performance, a construction explanation and a separate handling explanation.

The preparation has three parts: a custom-built box, a magnetic piece that allows the gum section to shift, and another piece of cardboard taken from a second box. Playing cards serve as construction material. Julio explains opening the packaging, reusing the wrappers, marking and cutting the pieces, giving the imitation gum faces depth and fixing the elements with tape. He also covers the black finish on surfaces and edges and the assembly of magnetic connections. Measurements come from the packet and its own pieces; fitting them accurately is part of the build.

The construction uses two packets of chewing gum, a few playing cards — Julio usually uses three —, scissors, a ruler, a permanent marker, a craft knife, double-sided tape, gloss black spray paint and magnets. The cards are painted on both sides and left to dry before assembly. The result is a prepared prop that must be made before performing. The section representing the gum combines wrappers with a playing-card structure; not everything the spectator sees is real chewing gum.

The handling explanation covers setting the pieces before taking out the packet, simulating the tear of an already-cut section and performing the displaced restoration. Julio teaches different ways to cover the connections, turn and align the assembly, and use the transfer between hands and the audience's attention. Viewing angles matter: at several points he explains which face must stay hidden and how to orient the packet to avoid exposing the pieces.

The second phase solves the closing problem by shifting the gum section. The explanation covers removing and palming pieces during turns and displays, then ditching them in a pocket or in the lap when seated. An alternative uses a phone as cover to conceal a piece. The phone is an optional handling aid.

The final handout requires removal of the indicated auxiliary pieces. The spectator still receives a prepared box containing construction materials and magnets. Julio discusses handing it out and even giving it away as a souvenir, but opening or dismantling the box can reveal the method. Before performing, you need to build and test the prop and practise the coordination, palms and hand orientations.

Repair or replacement involves remaking the pieces and reusing the magnets where possible. The lesson develops this approach to making the prop yourself and applying it to both phases of the routine.