Duplications (Vol+5)

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Vol#5 Drawing Duplications
Introduction
In this month s installment we will
look at Drawing Duplications .
When asked to name a favorite type of effect (for example a pin reveal, name re
veal, book test etc.) most mentalists will instantly state that the drawing dupl
ication is their favorit
e and it s not hard to see why drawing duplications are
so popular. The vast amount of versatility in terms of premise and performance
is staggering, ranging from remote-viewing to simple psychology and then everyth
ing in-between.
I don t
think there is a nicer moment visually than a participant and you holding up a
drawing simultaneously and they match
Double whammy! I have always had a soft spot for drawing duplications and surpr
isingly they are something that I have
not talked at great lengths about In all honesty I think they just
might be my next obsession. I have mentioned in the past that I tend to go thr
ough phases of loving one/ two areas of mentalism till I refine them and then mo
ve onto another area. It is a slow process but I love to know as much as possib
le on a particular situation as possible. One of the pioneers of drawing duplic
ations has to undoubtedly be Uri Geller.
Regardless of anyone s opinion of his ethics
he has created and employed some of the greatest drawing duplications that hav
e ever been created. My favorite drawing duplication of all time was the drawing
duplication he perfo
rmed on
David Frost
s
- Beyond Belief
. Uri
had Ulreka Jonsson make a drawing in Paris and he duplicated it thousands of m
iles away in America. One of the things I particularly loved about that drawing
duplication was the psychology that Uri employed during the drawing duplication
(whether he knew he was doing it or not is another thing, but I wager he did as
he is a very clever man). Some of the drawing duplications you will read in th
is volume are very classical in structure and method, others are bolder. I have

visited a couple of routines I have touched upon in the past and added my refin
ements/ subtleties to make them fresh and there is a whole host of unreleased id
eas. The most important thing in this volume (as always) is not the methods the
mselves (they are fun too) but the subtleties and nuances that are presented alo
ngside the effects and the journey that they enable you to take your participan
t on. I am currently in Dubai starting to write this volume, I will continue to
write in Paris (my home away from home) and will finish writing this volume up
in Holland/ Germany and then proof read in Spain! I am going to let the things
that I see and experience in these locations inspire me and hopefully that wil
l come out in this vol. With that said enough of me rambling on, Pete x
What is a drawing duplication?
I am finally comfortable with the format of these volumes which makes it easier
to focus on what should go where
This makes the volume more of a pleasurable experience for you the reader. What
is a drawing duplication? Well to answer that question it is exactly what it so
unds like -duplicating a drawing. Making a copy of a drawing that someone else h
as made
but with a twist, the person who makes the drawing never tells you what drawing
they have made and you manage to correctly identify and duplicate it.
It s easy to see why
this area of mentalism is so fascinating; over this volume you will find severa
l ways in which to duplicate drawings in a variety of different situations.
Do you have to be artistic to perform a drawing duplication?
NOT AT ALL! As you will learn through the course of this volume there are subtle
ways to get around not being able to draw what the participant is thinking of
(if this situation ever arises) and ways to reduce their artistic skill to somet
hing completely manageable
no matter what the level of your artistic ability.
I don t think there is any more questions that need answering, so let s get into the
content!
Drawing Duplications
By far the simplest drawing duplication possible is achieved by getting the par
ticipant to make a drawing on a billet and then peeking the billet (in a close u
p scenario) or a gimmicked pad clipboard peek in a stage scenario. I am purposef
ully (apart from in one section of this volume) going to try and avoid these me
thods. The reason I am aiming to avoid these methods/ way of thinking is that t
here are so many different cool premises and methods available I really think i
t would be a crying-shame to jump straight for the obvious. If you are
interested in Billet work see volume four of this series.
Psychological drawings
There are drawings that you can almost guarantee while in performance a large p
ercentage of people will draw. I will start by outlining a list of those drawing
s.
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