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com
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The Classified Drawing Duplication

This is classified. A drawing duplication that has very much to offer. A
duplication that looks exactly how it should and a secret that I have kept
back from my most recent book Drawing Thoughts Volume Two.

As you read this, know and understand that you are someone that has
invested in this professional secret, please do not share, re sell or upload
this.

I have only shown this to a few close friends to date, all of which have
shown their shared excitement for this approach. I am certain that you will
share the same enthusiasm.

Christopher, Rawlins.
Manchester, May 2019.
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The Experience
The performer invites the spectator to think of a simple picture, something
they can draw. A small pay envelope is removed, that contains a single
piece of blank card. The envelope is seen to be otherwise empty. The
spectator makes a drawing secretly, and slides their image facing down
inside of the envelope, which they immediately hold between their hands.

The performer vocalises some minor difficulty in clearly understanding the

drawn image, and explains: “People, when asked to draw anything tend to
decide on what it is they are about to draw and to see that in their mind with
absolute clarity. Then when they draw the image the details become lost or
they choose to simplify the drawing under the pressure of the task they have
been assigned to do. What I understand right now is that you have drawn
something, but most likely in a way that is open to interpretation. For
example, in the past I’ve had people think about a pyramid but only draw a
simple triangle. So can you think of a single word that describes your image
with absolute clarity?”

The spectator removes their image and writes their word underneath their
drawing. They are then invited to fold the image into quarters, then isolate
the image back inside the envelope, which is sealed and to continue to
hold everything.

You are now able to draw an image that is the same as theirs, and best of all
you are able to leave them with everything.

Important things to note:

At no point have you seen their image.
At no point do you switch or steal anything.
You are not listening to the pen.
Everything you leave them with can be examined.
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Where & Who

If you are aware of my previous and ongoing work you will know that I have
a deep fascination with the drawing duplication. It’s a journey that I don’t
believe will ever end, and this is by no means a new creation of mine but it
is currently my preferred favourite method of airing a secret image.

This method came together through knowing and very much enjoying the
fine thinking of Marc Salem. I have of course talked with Marc who not only
loved this approach and gave his blessing, but who also exclaimed that
‘You are the master of the glimpse!’ when I told him about this.

A number of years ago Marc discovered and created his ‘B.O.A.D’ and later
an adaptation of this approach was popularised by Paul Harris, which
became known as ‘Steam 2.0’. Which was attributed to Marc himself.

After much experimentation with these approaches I created what you are
reading.

I thank Marc Salem for his continued support of my work, and also his
blessing for this manuscript, which obviously without his great mind would
not exist.

I would also like to take a moment to remind you of how truly great I
believe this to be, and with that comes another reminder to protect your
investment and to use this as a tool, that allows you a true miracle with
minimal effort. A tool that demands your respect and secrecy.

With all that explained, I am excited to move forward and to show you just
how useful this approach is.
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Why?
So why ‘The Classified Drawing Duplication’ and not one of the many
others that are available to you?

This has a lot to offer. The conditions of this approach are of the upmost test
conditions, making it perfect for those high pressure, smart audiences I’m
sure you find yourselves performing for.

Here are just some of the strengths that you hold by using this approach:

At no point do you see, glimpse or peek their image upon the card.
At no point do you switch or steal anything.
You are not listening to the pen.
You see everything, there are no ‘dead zones’.
You really can leave them with everything.
There are no strange moment’s.
Pocket space is minimal.
This is very easy!

Are you excited? …You should be.

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What (You’ll Need)

For this approach you will need one envelope per performance, which you
could reuse however I much prefer to leave the spectator with the envelope
and the blank card (or business card) they draw upon. This is so that they
are left with everything that tells the story of what they experienced.

I use the Office Depot #1 envelopes, which whenever I am in the states I

purchase in large quantities. However any envelope will work well for this,
especially the coin envelope sizes. For readers in the Uk, with no access to
the Office Depot Envelopes I’d suggest and recommend that you obtain
pay envelopes from either WHSmith’s or online.

As the envelope is merely being used as a layer of impossibility here and is

not crucial to the method, you can work with whatever you are able to
source.

You will require a specific brand of marker pen, as it will work wonders. It is
un gimmicked and looks very similar to a Sharpie, I have more recently
started to only use these markers to maintain consistency for when I’d like
to use this approach. The exact brand I am refereeing to is the ‘BIC Marking
- Fine Point, Permanent Marker - Tuxedo Black’.
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You will also require a glue stick, my preference for this method is
reposition -able glue. I use ‘Elmer’s Reposition-able Glue Stick’.

You will also require a roll of fax paper, which can be obtained online or
from Staples, Office Depot, Ryman’s (in the UK) and of course online. You
can also obtain cut and bound pads of fax paper online or from art supply
stores, and these save you even more time when it comes to setting your
envelope’s. Thermal stickers can also work and eliminate the need for a
glue stick. I recommend buying a roll of fax paper and cutting it yourself as
you are then able to apply this to any envelope size you prefer.

Lastly, you will need blank card stock, uncoated. These of course must fit
inside of whichever envelopes you have sourced. I have found that
uncharted card works the best, I usually acquire these in bulk from a local
print shop or from Amazon. Index cards also work well if they are cut to size,
just be sure that the stock is thick enough as to not let the ink bleed
through to the other side.

These material’s are of minimal cost, and should you buy many envelopes
and blank cards at once, a small number of markers and one glue stick and
roll of fax paper, you will be set for hundreds of performances.
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How
This show you exactly how I set my envelopes, you should do the same.

To begin, I cut fax paper to a size slightly smaller and shorter than the
envelopes I am using. Leaving the slightly shinier side alone, I apply a small
amount of glue to the duller backside of the paper. This is then inserted
into one single envelope, and adhered to the upper most, non flat side of
the envelope. You should give this a few minutes for it to dry.

I now insert a blank card into the envelope and close the flap.

The set up is complete!

I prepare around 25 envelopes at one time, so that I always have some that
are ready to go and on my person, it will take you about 30 seconds per
envelope, and is well worth spending 12-15 minutes to prepare 25
envelopes at one time.
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There is more thinking behind this set up than you may think initially, so
please do read and fully understand my reasoning behind this.

Firstly, by adhering the fax paper to the inside uppermost part pf the
envelope, we can bow the envelope as the spectator removes the card and
simultaneously display the envelope as empty and unprepared.

This same image is created when they spectator slides the drawing face
down into the envelope.

And is seen again when they remove the drawing to add the word to clarify
their thought. All of these moments act as subtle convincers that everything
really is as fair as possible.

The fax paper is shorter than the height of the envelope so that you are
able to tear off the end of the sealed envelope at the end of your
performance and not flash the existence of the fax paper inside the
envelope.
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The reposition-able glue is used so that later you can clean up everything
and leave the spectator with the drawing and envelope.

Marc’s superb discovery with fax paper and the fumes of particular marker
brands means that even though the drawing is inserted face down into the
envelope and even though the drawing is not face to face with the fax
paper, a perfect copy of their image will be created upon the fax paper.
Which is of course what you will glimpse later.

An example of the fax ‘impression’ can be seen here:

I’m going to take you through how you should perform this, beat by beat
with as much detail as I can possibly type, so that you fully understand all of
the important details that take this from a cool secret to a professional
routine.
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Beat by Beat
Begin by asking your spectator to focus upon a simple image they are able
to draw, as you do this you hand them the marker, and in your dominant
hand you bow the envelope, and gesture for them to remove the card.

You instruct them to draw their picture in absolute secret and to turn the
drawing face down when they have completed the task. You must now turn
away fully!

Keep the envelope in your hand and still bowed but always remain in a
physical position that exaggerates the message silently that you are not
looking, nor are you interested in trying to catch a glimpse of their image.

This is important.

Once they have completed their task have them slide the drawing face
down inside of the envelope, do not seal the envelope. You now simply ask
them to hold the isolated image between their hands and to focus upon
their image. By having them hold it between both hands you are also
helping the impression to develop more clearly, whilst of course creating a
true image of security. The image only needs 10 seconds or so to develop.

You now begin to make statements, you should make some general
educated guesses here but not say anything too specific.

Here is where you will justify them removing the drawing to clarify their
image so that in a moment you can openly glimpse the fax impression.

You explain:

“People, when asked to draw anything tend to decide on what it is they are
about to draw and to see that in their mind with absolute clarity. Then when
they draw the image the details become lost or they choose to simplify the
drawing under the pressure of the task they have been assigned to do. What
I understand right now is that you have drawn something, but most likely in a
Generated for #21798 Thomas Gibbons [email protected]

way that is open to interpretation. For example, in the past I’ve had people
think about a pyramid but only draw a simple triangle. So can you think of a
single word that describes your image with absolute clarity?”

This language is important, study it and take the time to learn it and
understand it. You are giving a truly believable reason as to why you are
struggling to receive a clear though, and a valid justification for them to
remove the image once more.

You must now take back the envelope, and begin to slide the image out
facedown, but only bring it an inch or so out of the envelope. You now
pause, a face away as you instruct the spectator to remove the image, to
guard it and to add the word under the drawing. Now you instruct the
spectator to fold the drawing into quarters or if they like to scrunch it up
into a loose ball.

Only now do you turn around, and with the envelope in you dominant
hand, and with the opening upright, flap furthest from yourself, you will take
their folded/ crumpled image and very openly and slowly drop it into the
envelope. It is this moment that you look at the inside of the envelope and
see with full clarity the fax impression of their image.

It is tempting to peek at other moments but thanks to the genius of my

good friend Marco Fida, I know understand this to be the greatest and most
natural moment to peek.

Here is what you will see when you peek!

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Now seal the envelope and hand everything back to the spectator.

You may now reveal this drawing in whichever way you see fit.

You must be the one to take back the envelope whilst they are reacting, tear
off the end and to keep the fax paper facing towards you whilst you dump
out the folded/ scrunched drawing. As they continue to react and compare
images, take the envelope, reach inside and remove the fax paper which is
dumped into my pocket. You can now leave them with everything.

Of course it is not necessary to leave them with the envelope, and I don’t
always but it is great to have the opportunity should you wish to take it.

It has probably entered your mind that you could switch out the envelope
for another, which is something I have explored however it then requires
you to use two envelopes per performance instead of one.
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Opportunity
Whilst I feel it is fundamental to over emphasise your averted attention
whilst your spectator draws for this approach, you should still be on the
lookout for opportunity.

I have, on so many occasions managed to glimpse a spectators drawing

with every approach I have used to date. These opportunities never come
from compromising the visual that I wish to create but they do happen.
Keep an eye out for shiners (even wall mirrors, mobile phones, black
coffee!) and relaxed spectators.

When you do see their image in an opportunistic moment, I believe that it’s
important to still follow the conditions you would have if you hadn’t seen
the image but by omitting the glimpse. This means that should that same
person see you perform again for another, you will be consistent in your
approach to the set conditions. As the peek with this approach happens in
a fully natural moment that looks the same with or without the glimpse, you
have nothing to be concerned about.

Opportunity knocks when we least expect it, and we should always expect it
so that when it arrives we are ready, prepared and able to make the most of
it.
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So then what?
So you have peeked the image, now what do you do?

I would hope that by your interested in this manuscript you would already
have an answer to my question. Although I thought it would be useful for
me to include some ways that you might choose to reveal the image to
spark your imagination.

My current preference is to verbally reveal some of the general ideas

associated with the drawing, by which I mean if they had drawn a sailboat I
might say:

“Okay so focus not only upon your image with true clarity but also consider
how this would exist in the world. What does it do…I’m sensing movement
of some kind, a soft motion, flowing, like water but not water…

I might then re draw the image on my hand with the same marker they
used, or If I feel brave, theirs.

An index card, napkin, coaster will work just as well. You should use
anything that is around within your performance environment, so that you
do not have to go into a pocket or your wallet and remove anything extra,
because by doing so you would be adding unnecessary objects into their
memory.

Their iPhone notes app also works very well, by having them open a new
note and letting you draw, then placing the phone face down. If you do
choose to reveal the drawing in this way, be careful! Be aware that people
are not always comfortable with others touching or using their phones.

Three Point’s
Remember to consider lighting, it should be behind the spectator.
Be careful not to flash the inside of the envelope.
The peek must be slow, natural and intentional.
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Credits & Thanks

Marc Salem - B.O.A.D

Paul Harris & Ali Nouira - Steam 2.0

Marco Fida - for his insightful and elegant solution to the timing of the
glimpse.

You now understand exactly how to read a mind with what I believe is the
clearest plot in Mentalism, with an approach so clean and simple that you
can perform it with ease and confidence. Use it well. Guard the secret. Be
good!

Christopher Rawlins,

Manchester, UK.