Zimmerman/Wakeling Base
(created by D. Zimmerman )

360 Turn on a Levitation
John Gaughan
(Created for J. Pendragon )

Most Illusions performed by David Copperfield, Andre and Tim Kole, Lance Burton, Brett Daniels, Greg Frewin, The Hammers, Franz Harary are Intellectual Property.

"The plain & simple fact of "oh that's cool I want to do that" cannot be stopped. Only a true artist will stand alone in his/her performance & style. Only ethical performers will pay rights & royalties to performing someone's concepts. Other performers will just rip off concepts..." Ryan C. Reed, Illusion Entertainment

Notes on Creative Illusion:

Helicopter Appearance (two versions)
Built by William Kennedy Enterprises and Bill Smith Magic Ventures
Created by Ken Whitaker ( Performed by Hanns Klok, Dirk Arthur)
NOTE: Ken Whitaker & Craig Browning co-developed a 3rd Helicopter
Appearance for David Copperfield which was cancelled due to contract issues.
Created by Gary Ouellet (Performed By Kirby Van Birch)

Impaled/Impaled Beyond Belief
Owen Magic, Bill Smith, David Mendoza, Creative Illusion (created by Ken Whitaker)
•Variations

Water Penetration – Ken Whitaker & Craig Browning (originally built atop
the same water fountain Kenny built the Impalement on) Performed twice
by Craig Browning. The fountain bowl was destroyed as the result of
Vegas heat and prolonged exposure; the fountain never again rebuilt.

Torch Penetration – Ken Whitaker, Craig Browning & Joaquin Ayala
(exclusive to the Ayala show)

Neon Light Penetration – Ken Whitaker (there are 3 versions or methods
to this effect but only the prototypes were made to my knowledge; I’m
unaware of any version being sold.)

Sewing Needle Penetration – The primary effect is same as the original
but Craig Browning developed the animation of the over-sized thread that
moved through the eye of the needle as well as the Sewing Spool façade
that replaces the mirror ball, etc.

Shadow Vision
Creative Illusions (created by Ken Whitaker & Craig Browning) Craig Browning added
the Black-Art concept as well as the idea of concealing the #2 girl behind the faux torso
ala Head Slider). The original Whitaker concept did not have the missing torso reveal
that became such a key part to the effects success NOTE: The method for incorporating the faux torso suggested by Browning was dismissed by Whitaker & Co. but I do believe that Christian Fechner modified the second SV made by Creative for Siegfried & Roy, employing the “shell” technique I’d originally tabled i.e. a faux torso that fits as part of the costume but readily disengages the outfit and attaches to the prop as required. I hold to this theory simply because S&R’s handling of SV is so clean and far “faster” than any other performer I’ve ever watched presenting the piece.

See Thru Step Loader
Only one of three primary designs was ever released commercially by the chief developer Ken
Whitaker, this is simply for clarification points.
•Side View Loader – the only commercial design, allows for a see-through effect on
the stair riser in which a 3 ½” side support is visible… the basic method being inspired
by the popular “wedge” base design of the late 19 th and early 20 th century… a kind of
triangular chamber resting on the up-stage side of the stair case that can be cleverly
blocked by the assistant removing the steps from a prop when it is moved (via body
blocking) Front View Loader #1 – was inspired by a Lee Grable idea featured in the book by
Ormond McGill about Lee’s show, props, etc. but employed mirrors. The other side to
this version came from a bit I saw on a Harrary prop – a mirror that moves into place
when needed and then out of the way when no longer required. That said, the Browning
variation simply had mirrors that drop down into the appropriate 45° position but only for
the time required (as the girl drops down into the stair-case and either stays or else
moves into stage trap). The point of the design was to allow a straight-on view by the
audience directly through the stairs to the back curtain prior to the get-away or after the
load or a combination of the two – before & after the dirty work is done and thus, proving
the steps are perfectly innocent and have nothing to do with the effect in question.
This version was 100% Craig Browning and though considered by Creative Illusions/
Ken Whitaker, it was never made for commercial application though small prototypes on
the method may still exist, either with the Ayala effects company or Ken’s former partner
(which is doubtful).
•Front View Loader #2 – was inspired by the Lance Burton “Travel Trunk” production
effect. I cannot give credit where it is due but essentially, we are speaking of a very thin
table that hosts a mirror on the under-side, sat at about a 45° angle that reflects a wing
panel which is made of the same fabric as the main backdrop. Needless to say, the
same basic advantage exists as one would find in the table – a “blind spot” from the
audience view, created by the mirror which permits an apparent “see through” effect on
the steps.
While deceptive and simpler in operation to version #1, this method has several
drawbacks, the biggest of which being the fact that you can’t readily move the steps,
unless you have some means by which to covertly move the mirror(s) into a neutral
position.
Both, methods 1&2 were shared with Utah based builder Michael Christenson shortly
after Ken Whitaker’s passing but to my knowledge, no prototype was built of the #2
variation which, like #1, is 100% on Browning’s thinking and experimentation.
Multi-Base System
This is the flat-table with rear-holding chamber table series developed by Ken Whitaker
and to my understanding, the two primary designs of the tables are 100% his even
though a number of the effects that were developed to work with this system, belong to
others, myself included. The two effects that following being of my own creations and in
both instances, effects that had already been in use, at least by degree, prior to their be
“borrowed” *(without permission) by Ken’s partner and placed into the CI catalog;

The Joker’s Wild – was originally developed by Craig Browning on behalf of
magician Dean Hankey, using the original Wakeling “Queen of Hearts” cabinet
and later modified to work with a traditional Triangle Illusion. It was Ken’s partner
(Paul) that decided to include a 3rd variant that I’d merely mentioned in a
discussion (because it could be worked using the multi-base) in their first catalog
and promote the piece as being a CI exclusive of some sort… To date, the
ONLY person that has permission for doing this act is Dean Hankey.

The Gypsy Hand & Vanity – was the first routine I came up with when seeing
the original Multi-Base in that it was built to be a small woman’s make-up vanity
for a client. Again, Ken’s partner decided that my routine… the very act I was
developing to work with the table, part of which I already had working, would go
into the CI Catalog. I should make note that the routine included the use of the
Kevin James animated hand for which no permission (to my knowledge) was
given to CI for production though this particular piece was vital to the over-all
effect.

The Following Are Simply FYI…
1. SQUACK – the original name used for my Dare-Devil Duck & Cannon routine which
was inadvertently re-invented by Doug Malloy (he literally had no knowledge of my
version, which was being performed as early as 1985. NO I have no hard-feelings in this
case. I consider Doug a friend as well as being a very honest guy.)
THE EFFECT: is that a dare-devil ducky (real) locates a chosen card by being fired from
a canon, into an awaiting deck of cards that rests between the canon and a target.
Needless to say cards fly everywhere when canon fires and the duck is found splattered
on the target such as you might find a cartoon character pancaked against the wall… the
duck being peeled off the target, a rub of his throat causing the chosen card to rise up
and out his beak… of course, one would follow-up with a bit akin to the old Abbott Rabbit
Pump… bicycle styled pump that you visibly inflate the flat critter in until a balloon-like
burst results in the real critter jumping up and springing to life.
2. THE GREAT DUCK ESCAPE – is my version of the old “Where Do the Duck Go?”
routine in which my dare-devil duck (the Great WhoDucky) is secured into a straightjacket,
leg irons (a.k.a. thumb cuffs), a cloth bag that is tied closed and then set into a
small trunk with the top of the bag poked through a hole in the lid… you can see the
duck moving about beneath this bit of the bag.
The chest is then pad-locked closed and hoisted into the air… on stage is a second
trunk that’s been shown empty… as the countdown reached 0, a smoke pot fires and the
trunk falls open, the empty cloth bag fluttering to the stage… the DUCH HAS
ESCAPED!... but then you find him in the
2ndbox.
My presentation included much more, including Boy to Bunny but that was long ago…
the basic effect (with both trunks) is pending commercial release sometime next year via
Mark Reed/MagicVault.com along with several other pieces of mine (book & prop).
3. Bon Appetite! – is a bit of Mental Magic with a food theme (inspired by the old Falstaff
Book-test).
THE EFFECT: involves a small vinyl recipe card holder with a transparent window on
one side in which a prediction is seen; inside one finds several different recipes as well
as beverage choices; Fish, Poultry, Meat, Dessert, etc.
Guests randomly choose an entrée type and from several dozen recipes (photos shown
of the finished dish, etc.) one is selected… this process continuing with the beverage,
desserts, etc.
Long story short, the prediction matches perfectly every time… the killer is, the
participant really does have a free choice of entrée – meat, poultry or seafood, the rest is
a bit more automatic from there though you could have, for instance, Seafood chosen
back to back in two shows at the same gig, and the prediction as well as the “random’
choice will not be the same…
I originally offered this to Viking Mfg. but he was simply too busy to take on a new project
at that time. As with the above, Mark Reed has expressed interest in producing this
piece for 2011.
4. KIZZ*MET Envelope – is a 4-way prediction envelope that offers one novel twist; the
audience actually sees you write a prediction and place it into the envelope. From this
point on any one of four proposed outcomes can be removed as proof to one’s
clairvoyant skill.
This piece is a hybrid that blends the popular Kismet Envelope of Ted Lesley fame with
Ray Piatt’s “Z” Envelope, delivering a wide range of versatility when it comes to “outs”
and subtle convincers via handling & presentation.

Yes, there are other bits & pieces but these are the handful I know things are happening with at
present..

Don't forget the inventors that gave us our classics;

Parrot To Girl Cage; Tutacko/ Zigmont - Bill Smith
Crystal Casket; Robinson - L. Smith
MisMade Girl; Karson - Chuck Jones'
Sword Cabinet; Tenka - Owen
Shadow Box; C. Ywttmah - A. Zagorsky
Modern Cabinet; S. LeRoy
Cremation; Dutt
Sawing in Half; Selbit - H. Goldin
3 Sword Suspension; Hewes
Asrah; S.LeRoy
Avoiding the Crush; Selbit - Wakeling
The Lions Bride; Neuberger
Cargo Net; O. Williams
Backstage with a Magician; H. Jansen
Stretching; P. Tibbles
The Assistant Revenge; Robert Harbin
Baffling Bulbs; H. Bouton - L. Smith
Buzz Saw Cutting; H. Bouton - H.Goldin
Broom Suspension; Robert Houdin
Bump Cabinet/Million Dollar Mystery; Jeans/Selbit
Doug Henning and Charles Reynolds principle as a bump/tiger appear

Classed Among The Arts

The prevalent idea is that appreciation of magic consist of the apparatus employed in the art. To most people the appreciation of any magical presentation means simply "how it is done" it is assumed, that when once the devices, used in producing a magical effect, has been discovered the secret of that effect is revealed. The trick has been found out, therefore, nothing remains to be learned. A more erroneous view has never been conceived.

You must fool the minds of the spectators, not the eyes. As the magician performs, such impossible feats, the intellect of the viewer just stops. The audience just suspends it's disbelief, and for that moment in the theater they simply believe in magic.

A stage magic show has all the elements of theater but use's a structure of principals found only through studying the art of magic. Some of the principals are psychology of perception, psychological deception, mental misdirection, physical misdirection, controlling attention, premature consummation, pointing, creative flow, dissimulation, simulation, suggestion, repetition, and timing. As a matter of fact, magic embodies both art and science. By using methods of deception to create in the mind of the spectator, a false understanding of what is happening before him, a mistaken analysis of the situation, by the non-thinking part of your mind (sub conscious), is created. This is a misperception outside the brain's actives of known reality. The controlling of stimuli of the conscious, along with visual special effects, stirs the imagination and pleases the mind. Seeing the impossible becomes possible.

If magic was an art;

Magic is to be classed among the arts, not of course, among the mechanical arts, but the fine arts.
From the time of Aristotle to the present date, the consensus of opinion has decided that all art is based upon imitation. Most of the authorities have "flown off the handle" in trying to decide what constitutes art in the abstract, all agree that the basis of art is imitation, either the imitation of something that actually exists or something that might exist in circumstances imagined by the artist .

There is kind of art which imitates things that is imagined by the artist.

There is kind of art which imitates things that actually exist.

There is also a third kind that which imitates neither things imagined by the artist, nor things that exist: but merely the imitation of others. These three varieties may, respectively, be described as high art, normal art, and false art.

As in painting so it is in magic, to produce a magical effect, of original conception is a work of high art. It imitates the exercise of magical powers, by means and manner conceived by the artist who produce it.

To reproduce a magical effect, exactly as already conceived and executed by an artist in magic, is false art. It merely imitates the original imitation. In actual value, Is just as worthless as a painting copied from another painter.
Magic as an art, can only be as curtained by means of evidence derived from the work of accredited normal artist. The more genuine our normal art, as a whole, can be made to approach the status of high art, the greater elevation will be attained by magic.
The more nearly our normal art approximates to false art, the lower the whole art of magic sinks. Illusionist and general practitioners alike, must give proof of their artistic qualifications. This they can only be done by realizing that magic is an art form.

Basically speaking magic is at four levels. The first might be called a trickster, that all he does, a trick. I fooled you he might say. Your uncle at a backyard barbecue doing a card trick.

Then there is a conjurer, a conjurer not only fools people, he fools them completely. He creates a perfect mystery. A conjurer adds no poetry no sense of wonder. He may buy magic at the local magic shop.

The next level, a magician of the first order, he adds poetry to the mystery. He works with ordinary looking objects. His effects are very beautiful in style. He knows the reason why each effect he has produced has been successful.

The final category is of a very high caliber magician. He deceives in an entertaining way. Amazes through his personality, showmanship and technique. That's when the handling of the illusions produce a thrill of genuine surprise in all who behold it. He never wasting a single movement on stage.

A master magician is he who can produce original effects and understand how to present them in an original and convincing manner. His mastery was due to an innate sense of the principles that he studied. He has made the difficult moves look easy, then the easy became beautiful and the beautiful looks like real magic.

When we proceed to define normal art in magic we find the task somewhat more difficult. The work done by the normal artist in magic will fall within one or the other of three categories.

1) The use of familiar methods, in a familiar combination, to produce a familiar effect, but with some originality in presentation.

2) The use of familiar methods, in novel form of combination, to produce a familiar effect, the manner of presentation displaying some originality.

3)The use of familiar methods, in any form of combination, to produce a novel effect, the presentation of which must , necessarily possess more or less originality.

Everything which is not contained in those three categories must be something which is either greater or less than normal art in magic.

The true status of magic, as an art, can only be ascertained by means of evidence derived from the work of accredited normal artist. The more genuine our normal art, as a whole, can be made to approach the status of high art, the greater will the elevation attained by magic. The more nearly our normal art approximates to false art, the lower must the whole art of magic sinks. Illusionist and general practitioners alike, must give proof of their artistic qualifications. This they can only do by realizing that magic is essentially an intellectual pursuit and treating it as a true art, not merely as an embodiment of more or less intelligent skill.