Julio Montoro's Gimmick Workshop
Three lessons on building and performing a production object, the Manila changing envelope, and To Do List. Julio Montoro covers the materials, construction, adjustments, and handlings for each effect.
Julio Montoro's Gimmick Workshop
Three lessons on building and performing a production object, the Manila changing envelope, and To Do List. Julio Montoro covers the materials, construction, adjustments, and handlings for each effect.
By Julio Montoro
3 Lessons
Julio Montoro teaches three effects using prepared props and dedicates each video to both construction and handling. The path features three lessons and three videos: a cardstock piece for productions, a changing envelope, and a list whose halves seem to fuse together.
Preparation is part of the learning process. The gimmicks are built using the explained materials and are set up and ready before you perform.
The three lessons, in order
- Production Object. A cardstock structure is outlined and cut out using a business card as a reference; the creases are worked, and the closure is assembled using eight magnets and double-sided tape. Next, the front-facing orientation and the handling are taught to produce a small figure or compatible object. The scoring tool is optional.
- Manila. The mechanism of a changing envelope is built using an auxiliary card, elastic thread, and adhesives. Its operation is tested and adjusted, and a routine is developed to transform a card into the spectator's chosen card. Applications with banknotes and a signed card are mentioned as additional possibilities.
- To Do List. A cardstock piece resembling two fused halves is made, and instructions are given on how to prepare printed copies from the template, along with working on writing the list. The handling includes a climax in the spectator's hands and a visual alternative in the magician's hands, with a result that can be given away as a souvenir.
Materials and Knowledge
Each build requires its own specific materials. The production piece uses cardstock, eight magnets, double-sided tape, a pencil, scissors, and a size reference; the object and its holder must be adapted to the setup.
Manila requires a suitable envelope, a deck of cards with a matching auxiliary card, elastic thread, a needle, adhesives, and tools to prepare the mechanism. The routine employs shuffles, separations, and double card handlings, so a foundation in card magic is recommended.
To Do List uses appropriate cardstock to work its layers, adhesive, a craft knife, and pre-planned writing. Scanning and printing correspond to the option of reproducing the template in multiple units.
All three procedures are taught so you can build them yourself. The name of a commercial effect, a workshop tool, or the magnets used does not mean you have to buy a finished, brand-name magic gimmick.
From Construction to Performance
First, work on the finish and mechanics of the prop; then, focus on the angles and the movements the audience will see. The explanations distinguish between the view that makes learning the construction easier and the front-facing position used when performing the effects.
Examples and additional possibilities are kept separate from the developed handlings. You can adapt the produced object, the changing card, or the text on the list, while respecting the conditions of each setup.
Julio Montoro teaches three effects using prepared props and dedicates each video to both construction and handling. The path features three lessons and three videos: a cardstock piece for productions, a changing envelope, and a list whose halves seem to fuse together.
Preparation is part of the learning process. The gimmicks are built using the explained materials and are set up and ready before you perform.
The three lessons, in order
- Production Object. A cardstock structure is outlined and cut out using a business card as a reference; the creases are worked, and the closure is assembled using eight magnets and double-sided tape. Next, the front-facing orientation and the handling are taught to produce a small figure or compatible object. The scoring tool is optional.
- Manila. The mechanism of a changing envelope is built using an auxiliary card, elastic thread, and adhesives. Its operation is tested and adjusted, and a routine is developed to transform a card into the spectator's chosen card. Applications with banknotes and a signed card are mentioned as additional possibilities.
- To Do List. A cardstock piece resembling two fused halves is made, and instructions are given on how to prepare printed copies from the template, along with working on writing the list. The handling includes a climax in the spectator's hands and a visual alternative in the magician's hands, with a result that can be given away as a souvenir.
Materials and Knowledge
Each build requires its own specific materials. The production piece uses cardstock, eight magnets, double-sided tape, a pencil, scissors, and a size reference; the object and its holder must be adapted to the setup.
Manila requires a suitable envelope, a deck of cards with a matching auxiliary card, elastic thread, a needle, adhesives, and tools to prepare the mechanism. The routine employs shuffles, separations, and double card handlings, so a foundation in card magic is recommended.
To Do List uses appropriate cardstock to work its layers, adhesive, a craft knife, and pre-planned writing. Scanning and printing correspond to the option of reproducing the template in multiple units.
All three procedures are taught so you can build them yourself. The name of a commercial effect, a workshop tool, or the magnets used does not mean you have to buy a finished, brand-name magic gimmick.
From Construction to Performance
First, work on the finish and mechanics of the prop; then, focus on the angles and the movements the audience will see. The explanations distinguish between the view that makes learning the construction easier and the front-facing position used when performing the effects.
Examples and additional possibilities are kept separate from the developed handlings. You can adapt the produced object, the changing card, or the text on the list, while respecting the conditions of each setup.