Mentalism

mentalism outside the lines.
mentalism outside the lines.

ProMystic Color Match 3
CONTENTS
From Colin Mcleod:
Perfect Kurotsuke........................................................ 5
ESP Match Up........................................................ 7
Predicted Grapholo!........................................................ 10
Seein "ith #our Finer Tips........................................................ 12
Stae ESP M$TC% UP........................................................ 15
Spot the &ifference'........................................................ 17
Chair Test........................................................ 19
(Thank #ou $nd Goodniht)*........................................................ 21
(Thank #ou $nd Goodniht* Su+tlet!........................................................ 24
Pseudo Ps!chometr!........................................................ 26
,emote -ie.in........................................................ 27
Colorin /n........................................................... 30
Thouht Chunnellin........................................................ 32
Spectator as Mind ,eader........................................................ 33
Star Sin ,e0elation........................................................ 35
From 1lake $dams:
The Picasso........................................................ 38
/NT,O&UCT/ON
First of all, I want to conrat!lat" Crai on onc" aain #"$isin so%"thin so #"c"&t'
i$" that it will fit riht into th" wor(in r"&"rtoir" of any wor(in &rof"ssional.
I thin( what yo! n""# to r"%"%)"r, as with "$"rythin h" has cr"at"#, is that this is
not *!st on" ro!tin", th"s" ar" a !tility which yo! can !s" to #is&lay a ran" of %ir'
acl"s #"&"n#in on yo!r styl" an# th" sit!ation in which yo! ar" &"rfor%in.
Color Match is &ro)a)ly th" %ost #i$"rs" &ro& Crai has cr"at"# as th" o)*"cts ar"
all incr"#i)ly innoc"nt, instantly r"coni+a)l" an# can )" f!lly ins&"ct"# )y all a!#i'
"nc" %"%)"rs.
,hil" I co!l# sit h"r" all #ay an# #"scri)" how oo# I thin( th"y ar", what I-# %!ch
rath"r #o is "t straiht in to t"achin yo! *!st so%" of th" won#"rf!l thins I-$"
alr"a#y fo!n# yo! can &"rfor% with Color Match. I-$" tri"# to cr"at" a ran" of #if'
f"r"nt ro!tin"s h"r" to "ns!r" that yo! will fin# so%"thin that s!its yo! riht away.
.nc" yo! ha$" th" ro!tin" which s!its yo!, I th"n "nco!ra" yo! to "t straiht o!t
an# &"rfor% it as %!ch as yo! can.
/o ra) yo!r &"ns, so%" &a&"r an# "t r"a#y to l"arn how #"$astatin this #"$ic"
tr!ly is0
Colin Mcleod
2ul! 3454
PE,FECT KU,OTSUKE
+! Colin Mcleod
Effect: 1 )a f!ll of &"ns ar" shown to th" a!#i"nc" an# yo! "2&lain that #iff"r"nt
&"o&l" ar" attract"# to #iff"r"nt colors for $"ry #iff"r"nt r"asons.
3o! han# th" )a o!t to any a!#i"nc" %"%)"r an# yo! as( hi% to t!rn his )ac( to
yo!, ta(" o!t any &"n an# &!t a s%all #ot of that color on his han#. 4" th"n &!ts th"
&"n )ac( in th" )a, %i2"s !& th" &"ns, %a("s a fist an# &ass"s th" )a on to
so%"on" "ls".
5his &roc"ss is r"&"at"# !ntil fo!r or fi$" &"o&l" "ach ha$" a #iff"r"nt color"# #ot
on th"ir han#s.
3o! "2&lain th" o##s of (nowin all th" colors ar" fi$" ti%"s fi$" ti%"s fi$"... which
with fi$" &"o&l" is *!st o$"r on" in thr"" tho!san#. 6"ar#l"ss, yo! ar" i%%"#iat"ly
a)l" to r"$"al th" "2act color of #ot "ach in#i$i#!al has #raw on th"ir han#.
Method: 5his is &ossi)ly th" si%&l"st !s" for th" &"ns allowin yo! to foc!s &!r"ly
on yo!r &r"s"ntation an# yo!r a)ility to r"a# th" c!" fro% th" r"c"i$"r.
7!it" si%&ly, wh"n "ach &"n is r"%o$"# fro% th" )a, yo! will ha$" &l"nty of ti%"
to "t a r"a#in as th"y #raw a #ot on th"ir han# an# th"n &!t th" &"n )ac( in th"
)a. /ho!l# yo! r"8!ir" %or" ti%", yo! can also ha$" th"% %i2 th" &"ns aro!n#
an# )"ar in %in# th"y will also n""# to &ass th" )a to so%"on" "ls".
3o! want to %a(" s!r" that "ach &"rson "ns!r"s th"y (""& a tiht fist onc" th"y
ha$" #rawn th"ir #ot as yo! #on-t want anyon" "ls" to s"" what color th"y ha$"
chos"n.
5h" )"a!ty is that th"y can "ach hol# th"ir han# aloft, cl"arly showin "$"ryon" "ls"
th" color th"y ha$" chos"n.
It-s cr!cial yo! )!il# th" i%&ossi)ility of th" "ff"ct )"ca!s" th" %or" &"o&l" yo! !s",
th" %or" th" o##s of "ttin "ach &"rson-s color will o aainst yo!.
4ow #o yo! r"%"%)"r "ach &"rson-s color9 3o! ha$" a f"w o&tions for this. If yo!
!s" %n"%onics, yo! can %"%ori+" th"% "asily in s"8!"nc", or to %a(" th" "ff"ct
r"ally "asy to &"rfor%, yo! co!l# !s" a not" &a# an# thro!h th" act of :r"a#in-
"ach &"rson, yo! a&&ar"ntly %a(" so%" not"s on th"%. 1ll yo! ar" r"ally writin is
th" color th"y ha$" chos"n.
1lso (""& in %in#, this ro!tin" wo!l# also )" &"rf"ct for clos" !&.
ESP M$TC% UP
+! Colin Mcleod
Effect: 3o! lay 5 car#s fac" #own on th" ta)l". In front of th" s&"ctator, yo! lay #own
5 )lan( )ill"ts. 3o! i$" th"% a )a f!ll of &"ns an# yo! as( th"% to r"%o$" on" of
th" &"ns s"cr"tly !n#"r th" ta)l".
;"for" yo! (now which &"n th"y ha$" r"%o$"#, yo! t"ll th"% th"y ar" oin to
#raw a circl". 3o! th"n &oint to a ran#o% )ill"t an# yo! allow th"% a %o%"nt to
#raw th"ir sha&". 3o! r"&"at this )y ha$in th"% #raw a cross, wa$y lin"s, s8!ar"
an# star.
3o! r"%in# th"% that th"y chos" a &"n, th" sha&"s w"r" na%"# at ran#o% an# th"y
w"r" #rawin th" &ict!r"s in a ran#o% %i2"# !& or#"r on th" )ill"ts.
54<3 now t!rn o$"r yo!r 5 fac" #own car#s. <$"ry sinl" sha&" %atch"s &"rf"ctly.
=ot only ar" th"y in th" corr"ct or#"r, th"y colors of th" sha&"s also co%&l"t"ly
%atch.
Method: 5his ro!tin" is incr"#i)ly si%&l" to &"rfor%. =ot only that, it s""%s li("
yo!-r" tryin to h"l& %a(" th" &roc"ss as fair an# as ran#o% as &ossi)l".
1ll yo! will n""# for this ro!tin", asi#" fro% yo!r &"ns, is a stac( of )lan( in#"2
car#s.
.n yo!r car#s, #raw th" fi$" sha&"s in fi$" #iff"r"nt colors. I r"co%%"n#>
1' 6"#' Circl"
2' ;l!"' Cross
3' ?r""n' ,a$"s
4' 3"llow' /8!ar"
5' ;lac(' /tar
5his 1,2,3,4,5 s"8!"nc" is now incr"#i)l" "asy to r"%"%)"r. ,h"n yo! &"rfor% th"
ro!tin", )"in )y layin yo!r car#s o!t in this or#"r. 3o! will now lay th" fi$" )lan(
car#s o!t in front of yo!r s&"ctator.
5h"y ta(" th" )a !n#"r th" ta)l" an# yo! r"8!"st that th"y r"%o$" any color"#
&"n fro% th" )a, )!t not )rin it o!t *!st y"t. 5his is th" )ol# an# #"$io!s &art0 3o!
will now (now which &"n color has )""n r"%o$"#. 3o! ar" now si%&ly oin to t"ll
yo!r s&"ctator what sha&" to #raw. 3o! ar" also oin to t"ll th"% wh"r" to #raw it0
5his is cl"$"rly #is!is"# thro!h th" str!ct!r" of th" ro!tin".
1s soon as yo! (now which &"n it is, yo! i%%"#iat"ly t"ll th"% which sha&" it is
that th"y ar" oin to #raw.
@/o yo! ar" now thin(in of a sha&" #rawn in a s&"cific color, which I co!l#n-t &os'
si)ly (nowA foc!s on that an# #raw it, oh... h"r"...B
5his stat"%"nt is s&o("n in a $"ry #isar%in way. 5h"y ha$" ta("n th" &"n an# (now
th" color, yo! now s""% to &l!c( a ran#o% sha&" o!t of th" air. ;!t )"for" yo! t"ll
th"% wh"r" to #raw it, yo! n""# to "t th"% thin(in of th" "ntir" i%a". 5his is
why yo! %a(" a &oint of t"llin th"% to i%ain" that sha&" in that color.
5his #o"s two thins. First of all, it will cr"at" th" fals" %"%ory that th"y tho!ht of
a sha&" an# a color for th"%s"l$"s an# also it is th" r"8!ir"# ti%" %is#ir"ction to al'
low yo! to not only t"ll th"% what sha&" to thin( of, )!t also wh"r" th"y ar" to
#raw it.
In r"ality, if yo! thin( a)o!t th" "ff"ct, yo! ar" t"llin th"% what to #raw an# wh"r"
to #raw it, r"ally all that yo! ar" &r"#ictin is th" color. 4ow"$"r )y i$in th"% a
n!%)"r of thins to foc!s on, th" "ff"ct )"co%"s "asily %isr"%"%)"r"#
1ft"r th" %"ntion"# ti%" %is#ir"ction yo! will now s""% to ran#o%ly choos" a )il'
l"t for th"% to #raw on. ;y t"llin th"% that th"y ar" now thin(in of so%"thin
which yo! co!l#n-t &ossi)ly (now, it allows yo! to o&"nly t"ll th"% wh"r" yo! want
th"% to #raw th"ir :co%&l"t"ly s"cr"t- tho!ht.
5his &roc"ss is r"&"at"# with all th" r"s&"cti$" &"ns to th"ir sha&"s an# th"ir )ill"ts.
5his is $"ry si%&l" to #o as all yo! r"ally ha$" to r"%"%)"r is that th" n!%)"r of
)!++"s yo! r"c"i$" t"lls yo! which )ill"t th"y ar" to #raw on, "ith"r 1,2,3,4 or 5, an#
also #!" to th" str!ct!r" of </P sha&"s>
5h" circl" has 1 lin".
5h" cross has 2 lin"s.
5h" wa$"s has 3 lin"s.
5h" /8!ar" has 4 lin"s.
5h" /tar has 5 lin"s.
5h"r"for", it is incr"#i)l" "asy to r"call th" infor%ation yo! n""# an# aft"r r"h"ars'
in this a f"w ti%"s )y ta(in th" &"ns o!t )"hin# yo!r )ac(, yo! will "t a (nac( for
$"ry 8!ic(ly wor(in o!t what sha&" it is an# wh"r" "2actly it will n""# to )" #rawn.
5h" s&"ctators )ill"ts co!l# "8!ally )" r"&lac"# )y th"% #rawin th" sha&"s on th"ir
na&(in at th"ir ta)l".
P,E&/CTE& G,$P%O6OG#
+! Colin Mcleod
Effect: 3o! "2&lain that o!r han#writin can r"$"al a lot a)o!t o!r &"rsonality. 3o!
off"r to #"%onstrat" what yo! %"an. 3o! as( so%"on" for th"ir na%" an# yo! "t
th"% to first of all, t!rn away an# s"l"ct th" color of &"n th"y f""l %ost #rawn to.
;"for" th"y show yo!r th"ir choic" yo! r"%o$" a )!sin"ss car# of yo!rs an# yo! as(
th"% to writ" th"ir first an# last na%" on yo!r car#. =ot only ar" yo! a)l" to i$"
th"% an acc!rat" r"a#in )as"# "ntir"ly on th"ir na%", yo! also "2&lain that yo!r
a)ility to r"a# &"o&l" o"s )"yon# *!st analy+in han#writin. 3o! can also t"ll a lot
a)o!t a &"rson fro% th" way th"y t"ll yo! th"ir na%" Cli(" wh"n yo! as("# th"% at
th" startD.
3o! "2&lain that #!" to th"ir $oic" )"in a #ir"ct an# "nain $oic", it also has a
&layf!l twist to it. /o yo! (n"w that wo!l# )" so%"on" who wo!l# &ic( th" r"# &"n.
3o! as( th"% to t!rn o$"r th" )ill"t th"y-$" )""n writin on an# it )ol#ly stat"s
@3o!-r" th" sort of &"rson to &ic( th" r"# &"nB
Method: 5his ro!tin" will r"8!ir" yo! to ha$" a n!%)"r of o!ts #"&"n#in on which
&"n yo! #"ci#" to !s". For "$"ry color &"n yo! will r"8!ir" a )!sin"ss car# which
says on th" )ac( of it...
Youre the sort of person to pick the red pen
Youre the sort of person to pick the blue pen
Youre the sort of person to pick the green pen
Youre the sort of person to pick the yellow pen
Youre the sort of person to pick the black pen
7!it" si%&ly, onc" yo!r s&"ctator has s"l"ct"# th"ir &"n, yo! will han# th"% th"
)!sin"ss car# r"l"$ant to th"ir color. 3o! %a(" a &oint of not loo(in at what th"y
&ic( to )"in with as yo! si%&ly say it will %a(" %or" s"ns" lat"r.
3o! will now i$" a r"a#in on th"ir na%". ,hil" th"r" ar" %any )oo(s on th" s!)'
*"ct, a f"w thins to loo( at ar">
4ow )i th"ir na%" is>
Ca&ital E"tt"rs>
Foin"# G& E"tt"rs>
Pr"ss!r" of th" P"n>
/lant"# Forwar#>
/lant"# ;ac(war#s
.)$io!sly yo! can "la)orat" on th"ir na%" !sin th" H"n I" Co!rcy syst"%.
6"ar#l"ss of how %!ch yo! wish to r"$"al a)o!t th" &"rson, yo! can concl!#" )y
showin that yo! w"r" a)l" to #"t"r%in" th"ir charact"r riht fro% th" $"ry )"in'
nin, that-s why )"for" yo! t!rn"# aro!n#, yo! han#"# th"% a s&"cific car#. 5h"y
t!rn it o$"r an# th"ir choic" of &"n is r"$"al"#.
1s an "2tra tho!ht, if yo! #o not wish to ha$" an in#"2 of car#s, si%&ly writ"
#own...
Youre the sort of person to pick the .......... pen
;"for" yo! t!rn aro!n#, si%&ly writ" in th" corr"ct color !sin anoth"r &"n )"for"
yo! han# th"% th" car#.
SEE/NG "/T% #OU, F/NGE, T/PS
+! Colin Mcleod
Effect: 1 s&"ctator is i$"n a not"&a# an# a t!) f!ll of #iff"r"nt color"# &"ns. 3o! "2'
&lain to yo!r a!#i"nc" th"r" is a t"chni8!" &sychics !s" i$in yo! th" a)ility to s""
with yo!r fin"r ti&s. 3o! "2&lain that yo!-$" st!#i"# th"ir wor( an# yo! f""l yo!-$"
now #"$"lo&"# yo!r own s(ills to r"cr"at" this ift.
5h" s&"ctator is as("# to ta(" any color an# scri))l" a f"w lin"s on th" &a". ,hil"
this is ha&&"nin yo! ar" t!rn"# away an# ha$" no i#"a what color is ta("n.
,hil" yo! still loo( away, th" not" &a# is hi##"n !n#"r yo!r han# an# yo! )"in to
trac" th" scri))l"# lin"s with yo!r fin"rs h"l# ro!hly an inch a)o$" th" &a#. 1ft"r
a %o%"nt of conc"ntration, yo! ar" a)l" to #"#!c" th" color.
3o! "2&lain that th"r" %!st )" at l"ast on" &"rson who thin(s yo! ha$" so%"how
s""n it, so yo! as( for so%"on" "ls" in th" a!#i"nc" to co%" !& an# co$"r yo!r
"y"s.
5h"y ta(" a n"w &a" in th" &a# an# th"y scri))l" any n"w color. 5his ti%", with
yo!r "y"s co$"r"#, th" &a# is aain h"l# )"n"ath yo!r han# an# aft"r anoth"r %o'
%"nt of conc"ntration, yo! aain corr"ctly na%" th" corr"ct color.
;y this &oint, yo! "2&lain that whil" &sychics %ast"r this s(ill )y l"arnin to #"t"ct
tiny &i"c"s of infor%ation, th" lar" &i"c"s ar" %!ch "asi"r. /o this ti%" inst"a# of
scri))lin a lot of lin"s, th" s&"ctator only &!ts a tiny #ot of in( on th" &a".
1ain yo!r "y"s ar" co$"r"# #!rin this "ntir" &roc"ss. 3o!r fin"rs ar" h"l# a)o$"
th" &a# an# aft"r a %o%"nt of only s"nsin whit", fro% th" &a#, yo! "$"nt!ally fin#
an# corr"ctly stat" th" color of th" tiny #ot.
1s a concl!sion, yo! can ha$" yo!r s&"ctator writ" th"ir s!rna%" or #raw a &ict!r"
an# aft"r a %o%"nt of )"in )lin#fol#"# with yo!r fin"rs a)o$" th" &a#, yo! cor'
r"ctly stat" what th"y #r"w an# th" "2act color th"y #r"w it in
Method: ,hil" th" first thr"" &has"s ar" s"lf "2&lanatory, yo! ar" si%&ly #"t"ctin
which color has )""n r"%o$"# an# na%in it aft"r a con$incin &r"s"ntation, th"
thir# &has" is an i%&r"ssi$" "2tra.
5h"r" ar" a f"w %"tho#s I will s!"st an# yo! can &ic( th" on" which is )"st for
yo!.
1s I &r"f"r to wor( with %"tho#s which can )" !s"# r"al ti%", I will "2&lain yo!r o&'
tions. I"&"n#in on wh"th"r yo! want to #i$in" th" s!rna%" or th" &ict!r", yo!-ll
)" !sin two totally #iff"r"nt %"tho#s.
For th" s!rna%" r"$"al at th" "n#, as yo! as( th" s&"ctator to *oin yo! on sta", yo!
will )" !sin th" I!nnin"r &loy. 5h" I!nnin"r &loy is a tr!" classic of M"ntalis%
cr"at"# )y Fos"&h I!nnin"r.
1s( so%"on" in th" a!#i"nc" to stan# !& wh"r" th"y ar" an# as( th"% th"ir na%".
5h"y will o)$io!sly t"ll yo!0 1s th" s&"ctator *oins yo! on sta" an# th" a!#i"nc" ar"
cla&&in, yo! will as( th"% th"ir na%". =at!rally, th"y will t"ll yo! th"ir first na%"
aain. /i%&ly follow this !& )y as(in th"% @an# what-s yo!r s!rna%"B. I. =.5 try
to hi#" this, if yo! act s!s&icio!s, th"y will )" r"l!ctant to t"ll yo!. 1ct "n!in"ly in'
t"r"st"# an# th"y ,IEE t"ll yo!.
5h" sit!ation is now that yo! (now th"ir f!ll na%", )!t th" a!#i"nc" #on-t (now yo!
as("# for th"ir s!rna%", th"y still only thin( yo! (now th"ir first na%". .nc" th" a&'
&la!s" has sto&&"# yo! than( th"% for *oinin yo! on sta" an# than( th"% for *oin'
in yo! on sta". 1t this &oint (""& !sin *!st th"ir first na%".
Eat"r on wh"n yo! ha$" th"% writ" th"ir s!rna%", th" a!#i"nc" at lar" ha$" no
i#"a yo! (now this. ,h"n yo! start to r"$"al it l"tt"r )y l"tt"r, it will loo( "n!in"ly
st!nnin.
@I-% "ttin a I an# a G an# th"n an = th"n anoth"r = th"n an I = ? follow"# )y an#
< 6... an# it-s all writt"n in ;EG<, is that riht9B
5h" "ff"ct for th" &"rson on sta" is that yo! na%"# th" corr"ct color. For th" a!#i'
"nc", not only ha$" yo! corr"ctly na%"# th" color, yo!-$" also %ana"# to corr"ctly
s"" "ach l"tt"r !sin only yo!r fin"rti&s.
5h" r"ason for !sin th"ir s!rna%" is that this is a &i"c" of infor%ation which can-t
)" chan"#. If yo! as("# th"% on th" way !& for th" na%" of th"ir fa$orit" &lac",
not only %iht th"y chan" this, it-s also an o## thin to as( th"% on th" way to th"
sta". 5h" s!rna%" is an acc"&ta)l" thin to as( off th" c!ff witho!t aro!sin s!s&i'
cion.
If yo! wish to "n# with th" #rawin #!&lication, yo! n""# to loo( to th" wor# of
Iocc 4ilfor#. 4" has a won#"rf!l ro!tin" call"# </P"#. 5his is a won#"rf!l ro!tin"
wh"r" so%"on" can #raw anythin an# yo! r"$"al it incr"#i)ly cl"anly.
4"r" yo! ar" ta(in his )asic %"tho#, witho!t his won#"rf!l ca%o!fla"
Gsin yo!r not"&a#, yo! will in total !s" fo!r &a"s. /o on th" fo!rth &a" #own,
yo! will #raw a &ict!r" of a car in &"ncil.
,h"n yo! "t to yo!r final &has" of yo!r ro!tin", th"y will o&"n th" &a# to th" n"2t
&a".
In th" sa%" way Iocc 4ilfor# #o"s, yo! will as( th"% to...
Look at the pad, get a drawing in your mind, when you get a drawing in your mind,
I want you to see the drawing on the pad, now that you can see the drawing on the
pad, I want you to take any pen and trace over what you see there.
5his is a won#"rf!l an# #ir"ct way of c!in yo!r s&"ctator on sta" to trac" o$"r
what yo! s"" #rawn in &"ncil on th" &a".
5h" #!al r"ality h"r" is that yo! will )" r"$"alin what color th"y ha$" #rawn th"
&ict!r" in. 5o th" a!#i"nc" at lar" yo! will )" a)l" to r"$"al )oth th" &ict!r" an#
th" color it was #rawn in.
For th" f!ll wor( on this &rinci&l", yo! MG/5 ch"c( o!t Iocc 4ilfor#-s IJIs r"l"as"#
)y EKE P!)lishin. 5h"y ar" a)sol!t"ly won#"rf!l an# hihly r"co%%"n#"#0
ST$GE ESP M$TC% UP
+! Colin Mcleod
Effect: Fi$" a!#i"nc" %"%)"rs ar" on sta", stan#in )"si#" a ta)l" with a c!& f!ll
of #iff"r"nt color"# &"ns.
5h" &"rfor%"r stan#s at th" oth"r "n# of th" sta" an# i$"s o!t fi$" "n$"lo&"s to
)" %i2"# )y so%"on" in th" a!#i"nc".
5h" first s&"ctator on sta" st"&s forwar#, r"%o$"s any &"n fro% th" t!) an# is i$'
"n a ran#o% "n$"lo&". ,ith yo!r )ac( still t!rn"#, yo! t"ll th"% which on" of th"
fi$" </P sy%)ols to #raw on th" front of th"ir "n$"lo&".
5h" "n$"lo&"s ar" aain %i2"# an# aain anoth"r s&"ctator on sta" st"&s forwar#
an# ta("s anoth"r color. 5h"y ar" aain i$"n a ran#o% "n$"lo&" an# tol# which
sha&" to #raw on th" front of th"ir "n$"lo&".
5his &roc"ss contin!"s !ntil all fi$" s&"ctators on sta" ha$" an "n$"lo&" with an
</P sy%)ol #rawn on it, "ach in a #iff"r"nt color"# &"n.
5h" "n$"lo&"s ar" o&"n"# on" at a ti%" an# th"r" is a &rint"# &i"c" of &a&"r insi#"
containin an "2act r"&lica of not only th" sha&", )!t th" "2act color it was #rawn in.
Method: 5his ro!tin" is si%ilar to th" color !& ro!tin" with </P sy%)ols, how"$"r
this on" is "$"n "asi"r.
5h" "n$"lo&"s yo! i$" o!t to )" %i2"# ar" %ar("# at th" to& of th" "n$"lo&".
/i%&ly &!t a &"ncil #ot in fi$" &ositions alon th" to& s"al so that "$"n wh"n th" "n'
$"lo&"s ha$" )""n %i2"# yo! can si%&ly loo( at th" to&s an# yo!-ll (now which "n'
$"lo&" is which.
=ow wh"n a &"n is r"%o$"#, yo! will "t a r"a#in so yo! will (now which color it is.
5his will th"n t"ll yo! which "n$"lo&" yo!-ll n""# to han# th"%. /i%&ly %atch !&
th" n!%)"r of :)!++"s- with th" corr"ct "n$"lo&".
1t this &oint yo! will si%&ly t"ll th"% which </P sha&" to #raw. 6"%"%)"r, yo!
sho!l#n-t (now which &"n has )""n ta("n, or which "n$"lo&" is which. E!c(ily for
yo!r, yo! (now )oth AD .
3o! r"&"at this &roc"ss thr"" %or" ti%"s, with th" last "n$"lo&" )"in i$"n to th"
last &"rson with th" last &"n an# th"y will si%&ly )" i$"n th" last sha&" to #raw...
&"rf"ct.
SPOT T%E &/FFE,ENCE'
+! Colin Mcleod
Effect: 1 s&"ctator t!rns away fro% yo! an# r"%o$"s th" &"ns fro% th" t!) on" at a
ti%". <ach ti%" th"y r"%o$" a &"n yo! as( th"% to #raw a #ot of that color on #if'
f"r"nt fin"rs.
,hil" this is oin on, yo! hol# !& yo!r han# to th" a!#i"nc" so th"y can s"" th"r"
ar" s&"cific colors on "ach of yo!r fin"rs.
1ft"r th"y-$" #rawn a color on "ach fin"r, th"y t!rn aro!n# an# fac" yo!. 5h"y
show th"ir han# to th" a!#i"nc". <ach color &"rf"ctly %atch"s th" #ots on yo!r fin'
"rs.
5h" &"rf"ct $i"w"# &r"#iction...
Method: 5his is si%&ly a won#"rf!l &r"s"ntation for th" )asic %"tho# of th" &"ns.
3o! will (now which color has )""n r"%o$"# #!" to th" r"c"i$"r c!in yo!, th"r"'
for" yo! will (now which color &"n has )""n r"%o$"#. 1ll yo! will n""# to #o is t"ll
th" s&"ctator which fin"r yo! want th"% to #raw th" #ot on.
,h"n th"y t!rn aro!n# an# show th"ir han#, it will %atch yo!r own han# &"rf"ctly.
5h" )"a!ty of th" ro!tin" is that onc" th" s&"ctator t!rns away, yo! can show yo!r
han# fro% th" start. 5h" a!#i"nc" will not only r"%"%)"r yo! showin yo!r han#
fro% th" $"ry )"innin, th"y will also r"%"%)"r that yo!r &artici&ant on sta" ha#
a tr!ly fr"" choic" of which color &"n to r"%o$" Can# th"y will also &ro)a)ly %isr"'
%"%)"r "2actly what ha&&"n"#D.
5h"y will thin( that it was !& to th" &artici&ant to #"ci#" which fin"r th"y #r"w on.
5h"y will for"t that yo! tol# th"%. 5h"y will for"t all of this &ro$i#"# that yo! &lay
it #ownA %a(" it so!n# li(" yo! ar" na%in th" fin"rs ran#o%ly an# ha&ha+ar#ly.
C%$/, TEST
+! Colin Mcleod
Effect: Fo!r s&"ctators *oin yo! on sta". <ach is as("# to s"cr"tly r"%o$" a &"n
fro% a t!) an# hol# it )"hin# th"ir )ac(. 5h"y ar" th"n i$"n a s%all stic("r to stic(
to th"ir for"h"a#. 5h"y ar" now i$"n a whit" "n$"lo&" an# th"y ar" as("# to )rin
th" &"n o!t fro% )"hin# th"ir )ac( an# writ" th" color of th" &"n r"ally )i on th"
front of th" "n$"lo&".
<ach &"rson now t!rns aro!n# th"ir "n$"lo&" an# th"y show that th"y "ach ha$"
writt"n th" color which %atch"s th" stic("r on th"ir for"h"a#.
1s a (ic("r, th"y o&"n th"ir "n$"lo&" an# insi#" "ach of th" "n$"lo&"s is a &i"c" of
car# th" "2act sa%" color as th"ir stic("r an# th"ir &"n0
Method: 5h" %"tho# for this ro!tin" is r"ally si%&l" allowin yo! to f!lly foc!s on
th" &r"s"ntation.
First of all, as with all th" &"n ro!tin"s, yo! will (now which &"n has )""n ta("n )y
"ach &"rson.
1s th"y ta(" a &"n, yo! si%&ly n""# to i$" th"% th" stic("r which corr"s&on#s to
th"ir color"# &"n. ;y stic(in th" stic("r to th"ir for"h"a#, th"y will not s"" what
color it is. 5his %"ans yo! can %ar( "ach &"rson with th" color of &"n th"y ha$"
ta("n witho!t th"% )"in awar" of it0
3o! now si%&ly n""# to ta(" yo!r fo!r "n$"lo&"s containin th" color"# car#, which
ar" s!)tly %ar("# on th" o!tsi#" an# han# th" corr"ct "n$"lo&" to th" corr"ct &"r'
son.
5h" f!ll ro!tin" is now #own to th" &r"s"ntation0
3o! &lay !& th" fact that th"y &ic("# any &"n an# ar" sittin in any or#"r, so yo!
co!l# ha$" no i#"a what wo!l# ha&&"n. 5h"y t!rn aro!n# th"ir )oar#s an# th" col '
ors &"rf"ctly %atch.
1s th" (ic("r, yo! si%&ly ha$" th"% r"%o$" th" color"# car# fro% th" "n$"lo&" an#
it too will %atch0
5his ro!tin" is tr!ly straihtforwar# an# will a)sol!t"ly fill th" sta"0
(T%$NK #OU $N& GOO&N/G%T)*
+! Colin Mcleod
Effect: 1s a closin ro!tin" to yo!r show, yo! off"r to show how "asy it is to infl!'
"nc" so%"on"-s #"cisions &"rf"ctly.
/o%"on" is han#"# a whit" "n$"lo&" which has fi$" #iff"r"nt n!%)"r"# lin"s on it...
3o! han# th"% a t!) of &"ns an# as( th"% to ta(" o!t any on". 3o! t"ll th"% that
on th" &"n, th"ir is a wor# writt"n on it. 3o! as( th"% to writ" that wor# at &osition
n!%)"r 1.
5h"y r"%o$" anoth"r &"n an# yo! as( th"% to chan" th"ir %in#. 5h"y ta(" o!t this
n"w &"n an# th"y loo( at th" wor# writt"n on that &"n. 5h"y th"n writ" that wor#
at &osition n!%)"r 2.
5his contin!"s !ntil th"r" ar" fi$" wor#s writt"n fro% th" to& to th" )otto% of th"
"n$"lo&".
1.
2.
3.
4.
5.
;y th" "n#, th" "n$"lo&" will r"a#>
3o!
5han(
?oo#
1n#
=iht
<$"ryon" can cl"arly s"" that yo! tri"# to %a(" th"% writ" @5han( yo! an# ?oo#'
niht0B how"$"r, it-s o)$io!sly on" wron.
1t this &oint, yo! as( th"% to r"t!rn to th"ir s"ats cl"arly loo(in a littl" #isa&&oin'
t"#.
3o! t!rn to yo!r a!#i"nc" an# say @.h w"ll... 5han( yo! an# oo#niht0B.
/lowly, yo! r"%o$" th" &r"#iction fro% th" "n$"lo&" an# it %atch"s th" or#"r &"r'
f"ctly statin @3o! 5han( ?oo# 1n# =ihtB.
5h" colors an# th" wor#s all %atch.
Method: 5his is aain tr!ly straihtforwar#, how"$"r th"r" ar" a f"w int"r"stin
thins to consi#"r with this ro!tin".
First of all, inst"a# of *!st %atchin th" colors yo! %atch th" wor#s. 5his is )"ca!s"
th" wor#s ar" &rint"# an# st!c( to th" &"ns with which yo! want th"% to writ".
5his %"ans that not only #o yo! (now which color has )""n r"%o$"#, t"chnically
yo! (now th" wor# th"y will writ".
/o now all yo! n""# to #o is allow yo!rs"lf to )" c!"# as to which &"nLwor# was
ta("n.
For this ro!tin" to loo( con$incin, yo! want th"% to writ" th" wor#s fro% th" to&
to th" )otto%. 5his is not "ss"ntial, how"$"r wh"n I &"rfor% it, this is how I li(" to
#o it0 5hat #o"s %"an that th"y ar" &!ttin &"ns )ac( a n!%)"r of ti%"s, how"$"r
I-% willin to &!t !& with this.
3o! co!l# "8!ally ha$" th"% r"%o$" a &"n an# wh"n yo! "t th" n!%)"r of
:)!++"s- th"n t"ll th"% to writ" on that lin". If this %or" s!its yo!r styl", this is still
&"rf"ctly acc"&ta)l"0
5h" )"a!ty is that th" a!#i"nc" will *!%& ah"a# tryin to wor( o!t what yo! ar" try'
in to #o. =ot only that, th"y will fool th"%s"l$"s into thin(in yo! ha$" ot it
wron.
,hat a##s to this is that wh"n yo! t!rn aro!n# yo! loo( #isa&&oint"#. 5his will a##
to th" i%&act of th" final r"$"al wh"n yo! r"%o$" yo!r &r"#iction an# th" wor#s ar"
in th" "2act sa%" or#"r.
.)$io!sly th" fact th" wor#s ar" in a #iff"r"nt color will h"l&, how"$"r it-s not "ss"n'
tial to #raw att"ntion to this fact as it will )" a s!)tl" con$inc"r that yo! w"r" cor'
r"ct.
(T%$NK #OU $N& GOO&N/G%T* Su+tlet!
+! Colin Mcleod
Playin with this i#"a of ha$in so%"thin writt"n on th" &"n, it ca!s"# %" to &lay
with th" followin i#"a.
Effect: /o%"on" r"%o$"s any &"n an# #raws a &ict!r". 3o! ar" a)l" to &"rf"ctly #!'
&licat" what h"Lsh" #r"w witho!t t!rnin aro!n#.
Method: <ach &"n has a #iff"r"nt %"ssa" writt"n on th" si#" as(in th"% to #raw
#iff"r"nt thins.
olors are massively influential! "ifferent colors make us think different things in
the same situations. #or e$ample, driving a car. If you are driving and you see a %&"
light, you stop. You see a '%&&( light and you keep going. You see an )*+&% light
and you speed up so you dont have to wait at the red light...
...%egardless, colors do control how we think!
Lets try an e$periment with this ,ust now!
I would like someone to ,oin me on stage. (ow please look over the pens, you can
see they are all very different colors. -hey dont ,ust say .+L/& they are all very spe0
cific colors. -hey are like something out of a color chart.
In fact, take out any pen and now read the side. 1ut it back and take a different one.
)ctually, look at all of them. -hey are all totally different correct2
'ood!
3o now you know they are all different, please take any one of the pens , dont let me
see it and read it again. (ow draw your picture on the pad! 4old it up so that no one
sees the picture or the color of the pen! -hats very important!!
3o! now lift anoth"r &a# an# yo! #!&licat" th"ir &ict!r" &"rf"ctly0
Method: 1ain, yo! ar" &layin with th" s!)tl"ty of ha$in thins writt"n on th"
&"n. 5o th" a!#i"nc" it lar", th"y thin( th" &"ns si%&ly say th" s&"cific color of th"
&"n. <ach &"n act!ally has a %or" s&"cific %"ssa"...
@6<I... Iraw a 4.G/<B
<ach &"n as(s yo! to #raw a $"ry #iff"r"nt &ict!r". 3o! ar" nat!rally i$in th" &arti '
ci&ant on sta" th" o&&ort!nity to r"coni+" "$"ry &"n Cwhich as(s yo! to #raw a
#iff"r"nt &ict!r"D.
5h" a!#i"nc" at lar" si%&ly thin( yo! ar" allowin th"% th" chanc" to r"a# th"
s&"cific color of th" &"n as th"y will ca!s" th"% to )" infl!"nc"# in #iff"r"nt ways...
5"chnically, that-s tr!" in this sit!ation0
1ll th" &"ns ar" &lac"# )ac( in th" t!) an# wh"n on" is chos"n, yo! will (now which
on" it is. 1s a r"s!lt, yo! will (now which &ict!r" th"y will )" #rawin.
It-s now si%&ly a cas" of yo! #!&licatin th" #rawin.
5h" #!al r"ality h"r" is that th" s&"ctator on sta" will )" i%&r"ss"# yo! (now what
color th"y &ic("#. 5h" a!#i"nc" at lar" will )" i%&r"ss"# yo! not only #r"w it in th"
sa%" color )!t also that yo! #r"w th" "2act sa%" &ict!r".
PSEU&O PS#C%OMET,#
+! Colin Mcleod
5a(in th" @5han( 3o! an# ?oo#nihtB &rinci&l" "$"n f!rth"r, w" can a&&ly this
thin(in to ;r!c" ;"rnst"in-s fantastic :Ps"!#o Psycho%"try- fro% his )oo( :P"rc"&'
tion is <$"rythin-.
,hil" his ro!tin" !nfort!nat"ly isn-t %in" to "2&lain, yo! will si%&ly ha$" th" r"'
8!ir"# %"ssa"s writt"n on "ach of th" &"ns.
Gnli(" in th" a)o$" ro!tin"s, yo! will not hi#" th" fact th" %"ssa"s ar" on th"
&"ns, yo! will #raw att"ntion to th"%. 3o! will how"$"r !s" his fantastic s!)tl"ti"s.
;y ha$in fi$" &"ns an# only fo!r &"o&l", th"r" will nat!rally )" an "ff"ct for all fo!r
&"o&l" as yo! r"$"al th"ir tho!hts... if yo! (now his ro!tin", yo! will )" a)l" to
wor( o!t "2actly how th"s" &"ns will )"n"fit yo! h"r" AD .
,EMOTE -/E"/NG
+! Colin Mcleod
Effect: 1 s&"ctator is as("# to *oin yo! on sta" an# is i$"n an "n$"lo&" an# a t!) of
fo!r &"ns )"for" )"in as("# to stan# )"hin# yo!.
3o! "2&lain that th"y will )" #oin fo!r #iff"r"nt #rawins in th" fo!r #iff"r"nt
corn"rs of th" "n$"lo&".
5h"y r"%o$" any &"n an# yo! as( th"% to "t r"a#y to #raw so%"thin in th" )ot'
to% l"ft s8!ar". 3o! th"n as( "$"ryon" in th" a!#i"nc" to thin( of so%"thin si%&l"
th"y can #raw. 3o! th"n as( th"% all to sho!t o!t th"ir &ict!r"s.
) house2 'ood choice! -hen will you draw a house in the bottom left s5uare!
5his is r"&"at"# !ntil all fo!r 8!a#rants of th" "n$"lo&" ha$" a #iff"r"nt &ict!r"
#rawn in th"%.
1t this &oint, th" "n$"lo&" is o&"n"# an# th" &i"c" of car# is r"%o$"#. 1ll fo!r #raw'
ins ar" #rawn in th" "2act sa%" &lac"s in th" "2act sa%" colors.
Method: 5his ro!tin" allows yo! now to a#$anc" with th" &"ns. <ss"ntially yo! will
)" !sin th" "2act sa%" t"chni8!"s %"ntion"# thro!ho!t this %an!scri&t a##"# to
a &sycholoical statistic whilst )"in co%&l"t"ly )ol#0
.nc" th" &"rson on sta" r"%o$"s a &"n, this will corr"s&on# to a s8!ar" on th" "n'
$"lo&"
If th" r"# &"n is r"%o$"#, this %"ans yo!-ll stat" a &ict!r" will )" #rawn in th" to&
l"ft s8!ar".
If th" )l!" &"n is r"%o$"#, yo!-ll stat" a &ict!r" will )" #rawn in th" to& riht
s8!ar".
If th" r""n &"n is r"%o$"#, yo!-ll stat" a &ict!r" will )" #rawn in th" )otto% l"ft
s8!ar".
If th" y"llow &"n is r"%o$"#, yo!-ll stat" a &ict!r" will )" #rawn in th" )otto% riht
s8!ar".
,ith r"ar#s to 3.G6 &r"#iction, yo! will ha$" a &sycholoical forc"# #rawin,
#rawn in "ach of th" 8!a#rants. I r"co%%"n# a 4o!s", /tic(%an, Flow"r an# Car.
.n"' Car CI%ain" a rac" car with th" n!%)"r 1 &rint"# on itD
5wo' /tic(%an C5wo rhy%"s with sho", so i%ain" a stic( %an in sho"sD
5hr""' Flow"r C5hr"" rhy%"s with tr"", tr"" an# flow"r...D
Fo!r' 4o!s" CFo!r rhy%"s with #oor, so i%ain" th" #oor to a ho!s"D
.nc" yo!-$" stat"# which s8!ar" th"y will )" #rawin in, yo! will also (now which
&ict!r" th"y will #raw.
Red Blue
Green
Yellow
1s yo! as( th" a!#i"nc" to sho!t o!t a si%&l" #rawin, yo! will fin# in 99M of sit!'
ations, so%"on" will sho!t o!t th" &ict!r" yo! n""#. /i%&ly wait !ntil yo! h"ar
so%"on" sho!t it an# as( th"% to stan#. .nc" th"y ar" stan#in as( th"% to t"ll
"$"ryon" what th"y ar" thin(in of. .nc" th"y-$" call"# it o!t as( th" &"rson on
sta" to #raw it in th" #"sir"# s8!ar".
/o what if no on" sho!ts o!t th" &ict!r" yo! n""#9 /i%&l"... li"0 I (now, shoc(in
isn-t it90 4ow"$"r if "$"ryon" is sho!tin o!t &ict!r"s, for yo! to si%&ly say @#i# yo!
say flow"r9 ?oo# l"ts o with that th"n0B =o on" will )" any th" wis"r. <$"rythin is
ha&&"nin so 8!ic(ly no on" will ha$" ti%" to r"ist"r "$"rythin.
6"ar#l"ss, yo! will ha$" all fo!r 8!a#rants of yo!r "n$"lo&" fill"# with th" #"sir"#
&ict!r"s in th" riht color in th" corr"ct &lac". 3o! can now r"$"al yo!r &r"#iction
an# "$"ryon" will s"" it %atch"s &"rf"ctly.
CO6O,/NG /N777
+! Colin Mcleod
Effect: 1 s&"ctator is as("# to r"%o$" any &"n an# #raw so%"thin th"y wo!l# nor'
%ally fin# in that color.
.nc" th"y-$" #rawn th"ir &ict!r", yo! ar" a)l" to corr"ctly r"$"al what th"ir &ict!r"
is.
Method: 1ain, this allows yo! to #"$"lo& yo!r "n!in" int!ition to wor( o!t what
th"y ha$" #rawn.
3o! will ha$" a n!%)"r of thins wor(in in yo!r fa$or ;y as(in so%"on" to #raw
so%"thin /IMPE< th"y wo!l# nor%ally fin# in th"ir chos"n color it will i%%"#iat"ly
ro!n# #own th" n!%)"r of thins th"y can act!ally #raw0
6"# P"n> /!n, 1&&l", /traw)"rry, Eo$" 4"art...
;l!" P"n> .c"anLwat"r, 5h" /(y...
?r""n P"n> 1&&l", rass, tr"", ra&"s...
3"llow P"n> /!n, E"%on...
3o! i%%"#iat"ly r"ali+" th"r" ar" only so %any thins yo! can #raw0 In th" f"w
ti%"s to #at" I ha$" att"%&t"# this, th"s" ar" th" only thins as of y"t I-$" co%" !&
aainst. .)$io!sly as yo! !s" this, yo! will )!il# !& a #ata)as" of thins.
5his #o"s )"co%" a $"ry #ir"ct an# "n!in" #rawin #!&lication. 3o! can !s" a
%"tho# of &!%&in an# so!n# r"a#in to wor( o!t th" "2act &ict!r" th"y ha$"
#rawn.
3o! will s"" that %ost &ict!r"s for s&"cific colors follow a &att"rn. E"t-s i%ain" th"y
chos" th" r"# &"n, yo! co!l# )"in )y sayin @yo!r &ict!r" is fairly ro!n# I s"", in
fact, it co$"rs #own at th" to&, it #o"sn-t ha$" a st"% li(" thin stic(in o!t of it #o"s
it9 =o... I #i#n-t thin( so... this is a lo$" h"art corr"ct9B
,ith "ach color yo! ar" )"in i$"n an o&&ort!nity to %ast"r yo! s(ills #"#!cin th"
"2act &ict!r" )"in tho!ht of.
1t th" $"ry l"ast, if yo! ar" tr!ly str!lin, yo! as( yo!r &artici&ant to foc!s on th"
"2act color of th"ir #rawin an# yo! will )" a)l" to r"$"al that.
T%OUG%T C%UNNE66/NG
+! Colin Mcleod
Fosh!a 7!inn r"l"as"# a won#"rf!l t"chni8!" in his )oo( :Parali"s-. 1ain it isn-t
%in" to r"$"al, how"$"r thos" who ha$" his )oo( an# (now this t"chni8!" will )"
&l"as"# to fin# that th" &"ns allow yo! an a%a+in startin &oint.
;y ha$in so%"on" ta(" any color"# &"n, l"ts say th" y"llow &"n, yo! can th"n r"'
8!"st th"y @thin( of a fr!it which yo! wo!l# fin# in that color...B &ro)a)ly a l"%on0
If th"y ta(" th" r""n &"n as( th"% to @thin( of a cr"at!r" yo! wo!l# fin# in that
color....B fro, li+ar# or croco#il"0
3o!-ll i%%"#iat"ly s"" that th"s" &"ns will allow yo! to )"in th" &roc"ss in a $"ry
straiht forwar# way0
.nc" yo!-$" r"a# his )oo( an# !n#"rstan# his &roc"ss, yo!-ll )" straiht on to &"r'
for%in so%" of th" %ost #ir"ct %in# r"a#in ro!tin"s yo! can i%ain".
SPECT$TO, $S M/N& ,E$&E,
+! Colin Mcleod
Effect: 3o! t"ll th" s&"ctator yo! ar" thin(in of a circl" an# yo! as( th"% to i%ain"
th"y can s"" th" sha&" in th"ir %in#. 5h"y ar" th"n to thin( of which color th"y can
s"" th" sha&" )"in.
5h"y ta(" o!t this color"# &"n fro% th" t!) &ro$i#"# an# th"y #raw th" sha&" in th"
color th"y thin( 3.G ar" thin(in of.
3o! th"n t"ll th"% Im thinking of a +lue circle.
5h"y t!rn aro!n# th" &a# an# "$"ryon" s""s th"y ar" a)sol!t"ly corr"ct.
3o! as( if th"y want to ta(" it a st"& f!rth"r an# yo! t"ll th"% this ti%" yo! ar"
thin(in of a ho!s". 5h"y ar" to #raw th" ho!s" in th" color th"y thin( yo!-r" thin('
in of. 3o! also "2&lain that yo! ar" i%ainin th" win#ows )"in a #iff"r"nt colors.
Im thinking of a '%&&( house with %&" windows
5h"y t!rn aro!n# th" &a# an# "$"ryon" s""s th"y ha$" aain corr"ctly r"a# yo!r
%in#0
Method: 5his ro!tin" is &!r"ly #own to yo!r &r"s"ntation s(ills. 1s with all th" &"n
ro!tin"s yo! will )" c!"# as to "2actly which &"n has )""n ta("n.
3o! ar" also t"llin th" s&"ctator what :sha&"- yo! ar" thin(in of. 3o! ar" th"n
fillin in th" )lan(s )y t"llin th"% th" color onc" th"y ha$" #rawn it. 5his )"co%"s
%isr"%"%)"r"# as "$"ryon" will ass!%" yo! si%&ly sai# yo! w"r" thin(in of a
sha&" an# th"y ot th" sha&" an# th" color.
5his is th" sa%" with th" ho!s". 3o! t"ll th"% yo! ar" thin(in of th" ho!s", )!t to
"$"ryon" "ls" it s""%s li(" th"y ar" &ic(in !& on yo!r "2act i%a". 5h" )"a!ty of
th" ho!s" is that yo! "t to )" $"ry s&"cific, th"y s""%inly wor( o!t th" color of
th" ho!s" an# th" win#ows s"&arat"ly.
.)$io!sly yo! ar" aain t"llin th"% to #raw th" ho!s", yo! ar" *!st r"%"%)"rin
th" color th"y !s", as w"ll as with th" win#ows. 3o! r"%"%)"r )oth colors so wh"n
yo! say...
Im thinking of a '%&&( house with %&" windows... 5h"y t!rn it aro!n# an# "$"ry'
on" s""s th"y ot it "2actly riht0
ST$, S/GN ,E-E6$T/ON
+! Colin Mcleod
Effect: 3o! han# a s&"ctator yo!r )!sin"ss car# with th" #rawin of a fi!r" on it.
3o! "2&lain that "$"ry star sin is r"&r"s"nt"# in an a!ra r"a#in in #iff"r"nt color
&att"rns. For "2a%&l" if yo!-r" a :E"o- th" )o#y wo!l# )" a r"# color an# th"n th"
color aro!n# th" )o#y wo!l# )" )l!".
<$"ry star sin is #iff"r"ntA so yo! i$" th"% a chart to wor( o!t which color th"
)o#y of th"ir star sin is an# which color th" ar"a aro!n# th"ir )o#y wo!l# n""# to
)".
3o! ta(" th" chart )ac( an# t!rn away whil" th"y ta(" o!t th" first &"n. 5h"y !s"
this &"n to color in th" )o#y on th" )!sin"ss car# an# th"n th"y ta(" a s"con# &"n
to color in th" ar"a aro!n# th" )o#y.
5h"y th"n &!t th" &"ns )ac( an# th"y hi#" th" )!sin"ss car#.
3o! ar" now a)l" to t"ll th"% "2actly what th"ir star sin is.
Method: 5his is J<63 straihtforwar# an# I !arant"" that this %"tho# of c!in has
%any a&&lications.
5h"r" ar" two thins yo! will r"8!ir" to &"rfor% this. First of all, on th" )ac( yo!
yo!r )!sin"ss car# yo! want to #raw so%"thin si%ilar to this...
5his will allow th" s&"ctator to color in th" :)o#y- ar"a an# th" s&ac" aro!n# th"
)o#y.
3o! also n""# to ha$" a chart %a#" !& of #iff"r"nt color co%)inations.
Star Sin 1od! color $ura color
E"o 6"# ;l!"
Pi"c"s ?r""n 6"#
?"%ini 3"llow ?r""n
5a!r!s ;l!" ?r""n
Canc"r ?r""n ;l!"
Jiro 6"# ?r""n
/cor&io ;l!" 3"llow
Ca&ricorn 3"llow 6"#
Ei)ra ?r""n 3"llow
1ri"s ;l!" 6"#
18!ari!s 6"# 3"llow
/aittari!s 3"llow 6"#
<ach star sin how has a s&"cific :co#"- "ss"ntially, which %"ans that wh"n th"s"
&"ns ar" ta("n o!t in th" or#"r :;o#y-, th"n :1!ra- yo! ar" oin to (now "2actly
which star sin th"y ar".
Body
Area
Aura Area
/o, oin riht )ac( to th" start, yo! i$" th" s&"ctator th" )!sin"ss car# an# "2&lain
which two ar"as th"y will )" colorin in. 3o! "t th"% to thin( of th"ir star sin an#
r"%"%)"r th" color for th"ir )o#y an# th" color for th"ir a!ra.
3o! now ta(" th" chart )ac( an# yo! hol# onto it. 5his is how yo! lat"r fin# o!t
which star sin th"y ar"... I fin# it h"l&s ha$in to %"%ori+" it.
3o! first of all instr!ct th"% to ta(" o!t th" color &"n which %atch"s th"ir )o#y col'
or an# th"y ar" as("# to color that in. 5h"y th"n r"%o$" th" color for th"ir a!ra an#
th"y color that in. If th"y ar" !ns!r" at any &oint, off"r to i$" th"% th" chart aain
to %a(" s!r". 5his is also th" a&&ar"nt r"ason for yo! still hol#in on to it.
=ow yo! "t to loo( away as th"y ta(" o!t th" first &"n, th"n th" s"con#. 1ll yo!
ha$" to #o is %atch that s"8!"nc" !& with a star sin.
;"for" yo! t!rn )ac( aro!n#, %a(" s!r" th"y ha$" &!t )oth &"ns )ac( an# hi##"n
th" )!sin"ss car# to %a(" s!r" th"r" is no way yo! can s"" it.
#ou can no. o on to accuratel! re0eal their star sin7 #ou8ll also pro+a+l! find
the! are more likel! to keep !our +usiness card as it has their o.n specific star sin
9pattern8 dra.n on it +! them)
T%E P/C$SSO
+! 1lake $dams
Effect: A few years ago I became an uncle. I loved being an uncle because it meant that I
could spoil the kid and when the sugar high kicked in, I could just leave him with his par -
ents. Hes only three years old and hes very artistic, in other words, he likes to color. Here
is an example (performer pulls out a folded up page from his pocket, obviously colored by
a little kid). I kind of compare him to Picasso. As you can tell he prefers to color his trees
with a red trunk and purple leaves. Oh, my favorite are his bears which are orange with
green stripes, you've got to love it. I like to think its because hes artistic but the pictures
turned out this way because he just doesnt really care.
I thought we might try my nephews way of coloring as an experiment. I have my own col-
ors up here along with a giant picture of a face. We are going to create our own master -
piece, but before we get to coloring we need to have a name for this guy. (It might be a
good idea to use John Archers Collard idea where you get four or five spectators to call
out one letter at a time. Or you can just ask for a short name. The performer writes the
name above the picture and invites the spectator to join him on stage). We also have a
sealed envelope which well have you hold on to. Its taped sealed correct? (The performer
hands the envelope to a spectator in the front row then joins the other spectator back on
stage).
Maam, I have here your ________ (hands her the drawing), and your tools (gestures to
the colors) are on the table. I want you to make a wacky picture, the wackier the better. To
make sure you stay away from realism, were going to have some fun. We are going to
stand back to back so I cant see what you're doing. I am then going to ask you to grab any
color you want, and I promise I wont peek. Do so now; have you got one? Great, we'll use
that color and draw some hair on our figure. Now grab another pen and color in the eyes.
You're done? Perfect! Grab another and give our guy some eyebrows. Grab another color
and give him a goatee. Now grab the last one and draw a mustache. Great, we should
have a pretty crazy masterpiece now. (Performer turns around and looks)
Wow that is crazy! That's a random masterpiece isnt it? Actually, I dont know if it's all that
random. You see I forced you to draw rapidly and I really rushed you to make a decision
when you chose each marker. Did you feel influenced? Do you think I could have forced
you to choose the colors I wanted you to choose? Well, before we began I gave a volun-
teer and huge envelope which I would love to get back. (the perform retrieves it) Well, lets
see how close I got. (He starts to pull out the prediction slowly so that the performer re-
veals each part of the drawing by itself. Starting with the goatee, then the mustache fol -
lowed by the eyes and so on. He stops pulling it out after the hair is shown) Now that's
crazy but whats even crazier was that I was able to predict the name of the painting. (the
drawing is pulled all the way out and the name is shown)
Method: To perform this effect you need Color Match by Craig Filicetti. If you own this then
you know how to set up the pens. I have them in a pen holder on a table. You will also
need to construct the envelope and surface that the volunteer will draw on. You will need
to buy a foam poster board and the biggest envelopes you can find. The bigger the better
because more people will be able to see it. The size that I use are about 2 feet long and
are padded. You will then cut the foam board so that it can fit into the envelope.
You will then need to cut another piece of foam board the same size as the one in the en-
velope. I use foam board because its very sturdy and the volunteer will be able to draw on
the board very easily.
You will then need to cut a rectangle shape hole into the envelope. This will be done at the
bottom of the envelope. This will be done on the opposite side of the address side. Do not
throw away the piece you cut out. You will use it later on.
You will then need some duck tape. Tape the top of the envelope horizontally like the pic-
ture. You will then construct a flap for the bottom.
Wrap duct tape all around the bottom but dont cover up the hole. The construction of the
flap should be self explanatory from the picture. As you can see you use the left over piece
you cut out of the envelope for part of the flap. This is so when the flap is closed you wont
tape the board inside to the envelope and the board will be able to slide out easily. The
tape is supposed to look like an added measure to keep your prediction securely sealed
away.
After this is done you will then need to draw a picture of a face on the two boards. Dont
worry if you cant draw a face, the worse it looks the funnier it is. Also put a place for a
name at the top, but make sure the place for the name lines up with the cut out on the en-
velope. All you have to do now is color one drawing anyway you like. You could have them
draw earrings or a nose ring or lips or hair in the ears.
Now I like using the hair, eyebrows, eyes, mustache and goatee because you can reveal
them one by one. I believe that this is better than wiping out the envelope and showing
everything at once. Take a look at the pictures below to see what I mean.
Now the name. After you give your intro you go to your briefcase and grab the envelope
that is sealed with your prediction and hold it with the flap facing you. On top of the envel -
ope is the blank picture that the volunteer will draw on. You are holding them together out
in front of your body. When you are asking for the name of the soon to be masterpiece you
just thumb write it into the cut out slot of the envelope with your favorite grease marker
thumb writer. When you're done you just close the flap. Devin Knight had a similar idea
that he suggested in his Chess prediction. Here is a picture of the flap closed - you cant
even notice it. This can now be safely handed to someone in the audience and they will
never know there was a flap.
Now for the colors. Obviously when you ask them to grab a color you know what they grab
and you tell them where to draw. For example: If they pick up a marker and you know its
green tell them to color in a goatee. Very simple.
All I ask is that those who use this effect, make it your own. You have permission to use
my words but trust me it wont look as good unless you make it your own. So try.
I hope you enjoy,
1lake $dams
N 2010 1ll cont"nt is th" &ro&"rty of ProMystic, ;la(" 1#a%s an# Colin Mcl"o#

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mentalism outside the lines.

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