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Does it matter how well you sleeve?
- Thread starter PGAmagic
- Start date
If you almost always get caught, I don't think that you can call yourself "good". If you were sleeving well, you wouldn't get caught.
Sleeving is one of the most useful concepts in conjuring, assuming you can get rid of audience preconceptions about it, or frame your presentational style so that they don't even consider that sleight of hand is involved.
Sleeving is one of the most useful concepts in conjuring, assuming you can get rid of audience preconceptions about it, or frame your presentational style so that they don't even consider that sleight of hand is involved.
Shouldn't it matter how well you do everything? Rocco has made his career by sleeving after all.
Sleeving is an interesting challenge. I have found that avoiding getting caught depends more on timing than anything else. As far as you being good at it, I can't make a judgment. But if you're getting caught, then you may need to evaluate how good at it you really are because getting caught can indicate problems with technique, timing, or misdirection.
Also, learn to read people. Pay attention to how people react to other effects, whether they "follow" you and how easy it is to make a move right under their nose. (Follow in the sense that they are "falling for" the misdirection.) Next time you are going to sleeve something, do it for an audience that is following you, not one that is "on to" you, and do it early so they are not looking for moves.
One final thought, if you are sleeving things with a loose shirt on, the object (I assume it's a coin) will be visible because of the tension created in your sleeve. The best answer I have for this problem is to wear a jacket and try to drop the object in your shirt sleeve. If it ends up in your jacket, fine, you still accomplished the goal. But it may be more obvious (again due to weight and tension) than if you dropped in your shirt sleeve.
In your situation, I would work on it with good crowds, and for a camera. The camera can be rather revealing because you can't "blink out" your bad moves, and you're not watching yourself do the move. Sometimes I find that when I'm not watching myself do a move I'm about half as good as I thought I was because I can't correct for mistakes as I see them. Working with good crowds is helpful because it builds confidence.
Just a few thoughts, take them or leave them as you find appropriate.
Also, learn to read people. Pay attention to how people react to other effects, whether they "follow" you and how easy it is to make a move right under their nose. (Follow in the sense that they are "falling for" the misdirection.) Next time you are going to sleeve something, do it for an audience that is following you, not one that is "on to" you, and do it early so they are not looking for moves.
One final thought, if you are sleeving things with a loose shirt on, the object (I assume it's a coin) will be visible because of the tension created in your sleeve. The best answer I have for this problem is to wear a jacket and try to drop the object in your shirt sleeve. If it ends up in your jacket, fine, you still accomplished the goal. But it may be more obvious (again due to weight and tension) than if you dropped in your shirt sleeve.
In your situation, I would work on it with good crowds, and for a camera. The camera can be rather revealing because you can't "blink out" your bad moves, and you're not watching yourself do the move. Sometimes I find that when I'm not watching myself do a move I'm about half as good as I thought I was because I can't correct for mistakes as I see them. Working with good crowds is helpful because it builds confidence.
Just a few thoughts, take them or leave them as you find appropriate.
I used to be in sales and found that a lot of the same principles for sales will also work for magic. One of the most powerful lessons that I learned and I use all the time in my performances is that a problem is only a problem if you haven't resolved it. And the best time to resolve a problem is right at the beginning. For example, if people are calling you out on "it is in your sleeve" open up with a trick that doesn't involve the sleeves, while calling attention to them. State clearly, "A lot of people think that I use my sleeves to control such and such" at which point you will roll up your sleeves partially so that they will fall down to their natural position after you are done with that effect. By pulling their attention like that, they will think that your sleeves are rolled up the entire time. It is something that will take practice, but I garentee that after a couple of tries you will have it fit for you.
That's a very nice idea
Anyways, I don't like to use sleeving because it seems as if spectators always are gonna think that it goes up your sleeve since its such a well-known thing to do.
I've been doing magic since 1964 and while I've encountered a handful of effects that used sleeving methods, most of them were dated and required one to wear a very loose sleeve design in your coat. Secondly, you're speaking of hours of practice (daily) spead over some rather long months of time in order to become proficient at it... again, a negative in my book.
So the answer is relatively simple to my mind; if you like the method and are willing to invest the time into developing it as a skill, then it is up to you to make it "important" to YOUR OWN WORK... I've not found a need in the course of the past 47ish years, to cultivate it... then again, I've watched guys that were solid with it and working a topit that made my jaws drop... just as what I do grabbed their attention... just for different reasons.
If you want a technique to become a stable or signature for yourself, then work on it and develope it. Understand however, there are few "carved in stone" rules in magic/mentalism when it comes to this kind of supportive technique. Where the more concrete rules are pushed, it is wise to listen-up. But when a skill is "elective"... that is when you gain the opportunity to shine just a bit brighter, provided you do the work that is required for perfecting it... which brings us back to what I said originally; sleeving requires a lot of personal investment and consideration, so you need to ask yourself if this is a skill you are willing to invest in, why and what your ultimate benefit is going to be at the end of the day.
Most of the guys I know that bust their hump learning this sort of thing do it as a kind of personal challenge; they don't like being limited or dependent on how they do things... it's a matter of boredom and puzzle fixing, I guess.
So the answer is relatively simple to my mind; if you like the method and are willing to invest the time into developing it as a skill, then it is up to you to make it "important" to YOUR OWN WORK... I've not found a need in the course of the past 47ish years, to cultivate it... then again, I've watched guys that were solid with it and working a topit that made my jaws drop... just as what I do grabbed their attention... just for different reasons.
If you want a technique to become a stable or signature for yourself, then work on it and develope it. Understand however, there are few "carved in stone" rules in magic/mentalism when it comes to this kind of supportive technique. Where the more concrete rules are pushed, it is wise to listen-up. But when a skill is "elective"... that is when you gain the opportunity to shine just a bit brighter, provided you do the work that is required for perfecting it... which brings us back to what I said originally; sleeving requires a lot of personal investment and consideration, so you need to ask yourself if this is a skill you are willing to invest in, why and what your ultimate benefit is going to be at the end of the day.
Most of the guys I know that bust their hump learning this sort of thing do it as a kind of personal challenge; they don't like being limited or dependent on how they do things... it's a matter of boredom and puzzle fixing, I guess.
Man honestly, I hate sleeving. I know it can be a helluva tool, but I hate it.
Seriously, yesterday I was performing and was wearing my Letter Jacket (The sleeves are tight around my wrist). I did a snap change to change a card to their card, and a guy seriously swore that I sleeved the other card and made me show him my sleeves
Seriously, yesterday I was performing and was wearing my Letter Jacket (The sleeves are tight around my wrist). I did a snap change to change a card to their card, and a guy seriously swore that I sleeved the other card and made me show him my sleeves
Just make a joke out of it when they do that. Smile and be like, "Well, I bet you a hundred bucks it isn't in my sleeves." Then stare him down with said smile.
We need to focus more on turning negative things that the spectator throws at us into positive things we can use to enhance our performance. I am reminded of the saying: "A pessimist looks at opportunities in life and sees difficulty, while the optimist looks at the difficulties in life and see opportunity."
I'd listen to this advice orig poster. I've spent a lot of time on sleeving and contrary to popular thoughts, when done correctly, the sleeve is the last place they'd think it's gone.
Craig said it best, and I second Sir Fans. It's the same with palming, when done correctly you can palm a card to your pocket and the last thing people think of is 'he must have palmed it...'