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EFFECTIVE FOCUSES AND THEIR CLUES Using manipulations for card tricks. Tips for a magician
Directory / Spectacular tricks and their clues
Focus Description: Passing with one hand (volt) is used in almost all tricks. Its use is especially successful in cases where the viewer, along the course of the trick, must draw a card from the deck and notice it. The magician addresses the viewer: "Did you notice? Now, please, put this card into the deck." The performer extends the deck to the viewer with his left hand, holding it in the palm of his hand and at the same time opening the deck with the thumb of his right hand; he offers it to the viewer as shown in Fig. 36.
This movement is so unconstrained and natural that the spectator, having stretched out and noticed the card, instinctively puts the card into the free gap formed in the deck. After that, the deck seems to slam shut, and the marked card is in its middle. In reality, the magician does not capture it, but, putting his little finger on the marked card, makes a volt with his other hand. Thanks to the movement, the lower part of the deck will take the position of the top, transferring the card marked by the viewer from the middle to the very top of the deck. This technique allows the performer to take possession of this card and, in the course of the trick, do with it as he needs. This example clearly shows what the volt can serve for and what significance it acquires in any trick with cards. Thanks to the volt, you can move any parts of the deck, shift one or more cards to the top or bottom of the deck, keeping it under the control of the viewer all the time and, moreover, completely unnoticed by him. To transfer a card from the middle of the deck to the very bottom, it is enough to put the little finger under the marked card (instead of placing it on the card, as already indicated in the previous example) and then make a volt. The marked card becomes the first from the bottom of the deck, and if desired, it is easy to spy on it. It is not so easy to apply volt and pass during the performance of tricks in the presence of spectators, it requires special skill. Let's take an example. Suppose a spectator drew a card, noticed it, and returned it to the middle of the deck. The magician needs to move the card up, that is, put the little finger on it and make a volt. When a card is returned to the deck, the eyes of the spectators are naturally fixed on it, especially the eyes of the one who took the card, and if at this moment the magician himself looks at the cards, he can be sure that the volt will be noticed by the spectators. In this case, the magician can resort to the following tactic: after pausing and looking into the eyes of the person who drew the card, he says to the viewer something like this: "You noticed the card and put it back in the deck. Great. Did you remember it well?" While the magician is saying these words, the eyes of the spectators naturally involuntarily rush to the performer; using this, the conjurer mechanically, without looking at his hands, makes a volt without drawing attention to him with a habitual movement. You can achieve success during a performance with appropriate training, which makes it possible to work "blindly". Much depends on the magician's ability to capture the attention of the audience, to find and successfully apply distractions. 2. Forcing the map. Forcing a card means forcing the spectator to take exactly the card you want from the deck, while at the same time, as if giving him complete freedom of choice. It always seems to the beginner that this kind of manipulation is extremely difficult, but in reality it is not. Taking the deck, notice the bottom card. If you want to force a certain card, then move it down in advance. Having done this, take the deck in your left hand, as in the volte, and put your little finger in the middle of the deck, and then make a volt, as indicated above in the first option. Then slide your little finger back into the middle of the deck. Thus, both halves of the deck will now be connected from the side of the audience and at the same time separated by the little finger from the side of the performer. The card you are about to force will now be on your little finger. Thanks to the volt, it will be lower in the upper half of the deck. Holding the top of the deck with the thumbs of both hands and keeping the other fingers under the cards, fan the deck from left to right and invite a spectator to draw a card. Keep the little finger of the left hand on the front side of the forced card, or replace it with the right little finger, which is also under the cards. When the spectator reaches out to choose a card, push the card being forced forward with your thumb so that it falls under the taker's fingers exactly at the moment when he wants to take the card. If you act according to these instructions, you can be quite sure that the spectator will take exactly the card you want. The novice magician must fight the urge to slip the forced card too hastily. The deck offered to the spectator at the first moment should be barely deployed, and the forced card is covered on top with ten to fifteen other cards. The momentary indecision of the spectator who chooses the cards gives time, more or less quickly (depending on the need), to bring the desired card under the spectator's fingers just at the most convenient moment for this. If the magician does not calculate the time and the card falls under the fingers of the spectator before he has time to make his choice (the card passes the fingers of the spectator), then you should not be confused by this. Putting the little finger again on the card being forced, quickly close the deck and, having found any suitable words for this case, ask the spectator to draw the card again. In order for a beginner magician to learn how to force cards well, he needs to practice thoroughly. He must do it so skillfully that even a person familiar with these techniques would find it difficult to evade the need to take the card slipped to him by the conjurer. There are people who love to tease the magician. They usually pretend that they intend to take a certain card and suddenly they take another. For most tricks this doesn't matter much, since there are many other ways (which will be discussed below) to find out which card has been drawn. But there are tricks in which it is necessary that the drawn card in its value and suit must necessarily correspond to another card specially prepared for this trick. In such cases, of course, a mistake is unacceptable, since even the most talented conjurer cannot fully vouch for the fact that he will always be able to successfully force exactly the one and only card he needs. In order not to take risks, they resort to another, more reliable means - to the help of the so-called forcing deck. These decks are of two types: in some, all cards are the same, that is, if, for example, they want to force a ten of spades, then the entire deck will consist of only ten of spades, and no matter how hard the spectator who chooses a card tries, he will still draw ten spades. In other forcing decks, the same cards are in groups, for example, one third of the deck consists of tens of spades, one third of queens of hearts, one third of club kings; moreover, the cards of one row lie all together. These forcing decks are used where "you have to offer the viewer to take out up to two, three or more cards. Such a deck does not require special dexterity from the magician in order to slip the necessary cards to the viewer. 3. Fake shuffling, or juggling, cards. The false shuffle is of two kinds, according to the purpose for which it is intended. One of them serves to keep in sight one or more cards needed for the magician. The remaining cards of the deck in this case are really really shuffled. The other is designed to keep the deck in a predetermined order, the cards in it are shuffled only for appearances, but in fact the magician again returns them to the same place where they lay, and maintains the same order that was before the shuffle. 1st view. Keep one or more cards in mind. Take the deck in your left hand. If the card you want to use later is not yet on top of the deck, then move it to the top with a volt. Transfer this card to your right hand and throw the remaining cards on top of it in plots of 5-6 cards one after the other. The spotted card will now be at the bottom of the deck. Return the deck to the left hand, then discard 3 or 4 cards to the right hand, and draw the rest in plots of 5 or 6 cards, alternately above and below the cards thrown into the right hand. Do this until you reach the marked last card, which you can put on top or bottom of the deck, depending on what you are going to do with it next. The method remains the same if you want to keep 3 or 4 cards in mind. Treat these cards as if you were dealing with only one card, and therefore keep them together throughout the shuffle. 2nd view. Keep the whole deck in its original order. First option. Take the deck of cards in your left hand and use your thumb to flip the top few cards into your right hand. Then start shuffling the cards, throwing them in plots on the cards in your left hand, alternately from above and below. However, by sketching the plots from above, you are only pretending to leave them in your left hand. In fact, you return them to your right hand. Continuing the shuffle, discard these plots to the left hand, but already from below the cards. As a result of this, the plots do not at all lie alternately above and below the cards in the left hand, but only lie below. This is why the cards in the deck retain the same order they were in before the shuffle began. Second option. Volt transfer the bottom half of the deck to the top. Take the cards in your right hand, keeping the little finger between the two halves of the deck. Raise the cards a few centimeters above the table, keeping them notch up, then throw these cards from the bottom of the deck onto the table so that they form four piles, as shown in fig. 37.
The first plot (bottom cards) should fall on #1, the next one on #2, and finally the last one on #3. No. 4 and with the right hand No. 1 on top of No. 4. Finally, with the left hand No. 2, place on top of all other cards. The cards will return to their original order. The ease and speed of the magician's movements, the alternating work of both hands give his actions the character of ease, which deceives the viewer, removing any suspicion that the cards are placed in a predetermined order. Third option. This method of shuffling also makes it possible to preserve the previous order of the cards in the deck, with the difference that it seems to the audience that the cards are not shuffled, but only removed. This is achieved by going to the bottom; the deck carries an indefinite number of cards lying on top. Holding the cards in the same way as indicated in the second option, you drop them on the table, breaking them into four piles, counting from the left side in order. Then, as you collect cards, place the first pile (leftmost) on top of the fourth pile (rightmost) and the second pile on the left on top of the first, placing the third in order on top or bottom of the entire deck. If it is necessary, after shuffling, to bring the cards to the same position that they occupied before it, for this they make a "bridge", which we will discuss below. 4. Card palming. Palming a card means hiding it from the eyes of the audience in the palm of your hand. Let's see how to do it. The card that they wish to hide is transferred to the top of the deck by means of a volt or other method. The deck is held with the left hand upside down, the right hand covers it lengthwise. With the thumb of your left hand, slide the top card down 1-2 cm beyond the edge of the deck. With the middle finger of the left hand, which is now just under this card, slide it into the palm of the left hand, the deck of cards is held half-hidden above it. A palmed card, that is, a card hidden in the palm of your hand, of course, will bend according to the shape of the hand, but you don’t have to worry about this. You should not look at the hand in which the card is hidden, it should be held as shown in fig. 38, or quite calmly lower along the thigh. Thanks to this technique, you can peep a palmed card, that is, find out what it is. If you need to return it back to the deck, you do it quite naturally - you take the deck of cards with the hand in which the card is palmed, that is, in this case, the left. A magician with a large palm can easily palm a full deck of cards in this way,
5. Deck leaflet. The leaflet of the deck serves two purposes: a) to straighten the card, bent during palming in the palm of the hand; b) to divert the attention of the viewer from the manipulations, due to which this or that focus effect is achieved. Suppose, for example, that the trick is to make some card in a different place suddenly appear in the deck. The magician has already imperceptibly put it into the deck, but before he invites the audience to discover its presence in the deck, the performer quickly flips through the cards, while producing an even rustling sound. Spectators will be convinced that the movement of the card occurred just at the moment when he rustles the cards, and will not be able to determine the true moment of the trick, and therefore reveal its secret. The leaflet of cards does not create the effect of any trick and is not manipulation in the true sense of the word, but its use is very useful. Leaflet cards - a kind of distraction. It is done in the following way. Take the deck with your left hand, with the thumb on top of the deck and the rest on the bottom. Cover the deck lengthwise with your right hand, bending the cards with your thumb and other fingers. Unclench the fingers of your left hand, then lift the stake slightly with your right hand over your left. Keeping the thumb of the right hand still, squeeze the other fingers so as to bend the cards a little more. Sliding out from under the fingers, the cards straighten with a sharp crack. The leaflet can be done with one hand. Grasp the bottom edge of the deck with the thumb and forefinger of your right hand. Bend the top edge of the deck with your middle and ring fingers. By continuing to squeeze our fingers, we will cause the top edge of the cards to pop out from under them and straighten up. 6. Substitution of cards, or thinning. Many of the most interesting card tricks are based on this manipulation. With the help of milling, one card turns into another before the eyes of the audience. This effect can be achieved in various ways. 1. Take the deck in your left hand, as if about to deal cards. Hold the card you want to change in your right hand between your thumb, index and middle fingers. The card you are going to replace with, discreetly put on top of the deck. Then push it slightly out of the deck to the side by 1-1,5 cm with the thumb of your left hand (Fig. 39).
Put your hands together for a moment and slide the card you want to replace under the deck with your right hand, while the index, middle and ring fingers of the left hand open to receive the card, and the thumb gives it a way as soon as it touches the deck. At the same time, the thumb and forefinger of the right hand grasp the card that has been extended and lies on top of the deck. Then the hands diverge in different directions, in the right hand there is a new card, that is, the one that was replaced. A half-turn of the body to the left or right, accompanied by a quick downward movement of the right hand, well masks the instant connection of the hands. It should be noted that turns of the body and sharp swings of the hands are very often used in card manipulation as distractions. Sometimes it is better for the right hand alone to move, while the left remains motionless; sometimes vice versa. Practice, of course, should be in both ways, since the environment in which the magician will have to work may require the use of both. 2. Hold the deck upright with the suit in front of the audience. The card being replaced is in front of the deck (in full view of the audience), and the card being replaced is at the back of the deck. The deck is held with both hands, and both of these cards should protrude slightly to the right from behind the rest of the deck. The front card is held by the index and middle fingers of the right hand, and the back card is held by the thumb of the right hand, as shown in fig. 40. Draw the spectator's attention to the front card and ask them to remember it.
Then quickly turn the deck over with the suit down to the floor and at the same time grab the back card from the deck with the fingers of your right hand. Viewers will definitely take her for just seen. This method is less successful than the previous one, but as long as the student has not yet mastered the first one, which is much more difficult, then this method may well come in handy. 3. Hold the card you want to swap in your right hand, with the right thumb on top and your index and middle fingers on the bottom of the card. The deck is held in the left hand, as when dealing cards, and the card to be replaced must be on top. Quickly join hands, while pushing the top card slightly with the thumb of the left hand, and at the same time transfer the replacement card from the right hand with a sliding motion to the top of the deck. Both cards will then be between the thumb and the rest of the fingers in the right hand. Press lightly on the top card with the thumb of your left hand to push it back, and quickly move your right hand to the right, pressing lightly with two fingers of your right hand on the front side of the top card of the deck, thereby pushing it into place of the replaced card (Fig. 41).
The most attentive spectator is not able to notice the exchange that has taken place if this trick is done cleanly. In order to impose an exchange card on top of the deck, some pretext must be found, otherwise it will seem suspicious to the audience. In this case, a small conversation along the way can be a distraction. One tactic you can adopt is to direct the audience's attention to something you're not really doing so that they won't notice what you're really doing. “I draw your attention,” you say, “that I didn’t put the cards in the deck for a second, I just took it and ...” - at the words “I didn’t put the cards in the deck,” you join your hands and make a substitution right in front of the audience , while they will take this gesture as an illustration of your words. Such a distraction can be very simple, persuasive and effective. 4. Substitution is performed with one hand. Take the deck, as when dealing, in your left hand, with a margin up. Place the card you are changing for on top, the card you are changing for - under it. With the thumb of your left hand, push the top card out of the deck by half its size so that it rests on your fingertips. This move will reveal half of the bottom card. Move your thumb back to move this bottom card so that its top edge is flush with the bottom edge of the top card in the deck. After that, press the top card with your thumb so that the bottom card lies on the top card, and then align the edges of the deck. The cards have now been reversed. 5. This method is useful in cases where it is necessary to unnoticed by the audience to remove from the deck and replace several intended cards. Palm in the left palm with a margin up as many cards as you need to replace. Hold the cards you want to change between the thumb and middle fingers of your left hand (Fig. 42).
Cover these cards along with your right hand and hide them in the palm of your right hand (fig. 43). Then immediately take obliquely with all the fingers of the right hand the cards hidden, palmed in the palm of the left hand, and throw the cards on the table with a speck upwards. Viewers will mistake them for what they have just seen.
6. This interesting method allows you to change the selected card without the help of a deck and provides an excellent opportunity for the performer to show his skill and ability to use distractions. This substitution can be very effectively completed by the fact that the chosen card is taken out by the magician from the pocket of one of the spectators. Let the spectator choose, memorize a card and put it in the deck. Immediately move it upward with a volt and palm it in the right palm. After that, give the deck to the audience and ask them to shuffle it. When the shuffled deck is given to you, take any card and, holding it between the thumb and forefinger of your right hand, that is, the one in which you have the chosen card palmed, tell the audience, showing the card you took: "Here is the card that you took out and noticed." It is only natural that the audience will object. Pretending that you are embarrassed, ask the viewer: "Are you really sure that this is not the right card?" During the conversation, you take the card with a speck upwards between the thumb and forefinger of your left hand, in the same way as you held it in your right hand (see Fig. 43). Hold it so that the previously palmed card is just above it, so that both of these cards appear to the spectators as one, and continue your conversation with the spectator: “So you are really sure that this card is not the one you chose? Okay, I'll try to turn this card into the one you've chosen, please say out loud the card you've chosen." The viewer calls her. You loudly repeat the card named by the spectator. "Good. It's amazingly easy to make, I'll put one card in my hand now, or if you want, I can transform in your hands." You approach a spectator and hand him the cards. "Please hold it upside down. You just said that your card was...". (You call the card, stretch your hand towards the card that the spectator is holding.) "One. Done ...". At the words: "I will now put the card in my hand ..." - you only for one moment put both cards on the palm of your left hand, as shown in fig. 44, and quickly bring forward the top card, and palm the other in your left hand and lower your hand naturally down along the body. The audience will not be able to notice the substitution if it is done quickly and cleanly, and it goes without saying that they will be quite satisfied with the successful ending of the trick. If desired, you can enhance the effect. Ask the audience: "Tell me, please, which card did you see before?" The audience says, say, the lady of spades. "Queen of spades?" you repeat. "No, it can't be. You must have made a mistake." Approach one of the spectators and say: "Look, there is no queen of spades in the deck." Give a deck for inspection. "The queen of spades was always in this comrade's pocket." At the same time, you lower your left hand with the card palmed in it into the viewer’s pocket, hesitate for a few moments, and then, grabbing the card over the edge with your thumb and forefinger, quickly remove it from your pocket and show it to the audience.
7. Peeping at a card drawn by a spectator from a deck and noticed. Sometimes it is necessary to be able to peep a card, since no magician can be absolutely sure that he will always be able to force the spectator exactly the card that he wants. A beginner magician can often be a victim of chance or even a victim of his own mistake. And therefore it is especially necessary for him to have at his disposal some auxiliary means in order to guarantee himself against this. For example, the following. Let the spectator who chose the card return it to the deck and make a volt, this will bring the card to the top of the deck. Then palm it while passing the deck to a spectator to shuffle. At this moment, having a card in the palm of your hand, quietly peek at it (see Fig. 38). If there is no need to retain control over a card seen by a spectator, but you want to know its suit and value, then you should use the following two methods by which you can peep a card. 1. Ask the spectator, who has drawn a card from the deck, to notice it and return it to the deck, which you hold fan-shaped in your left hand, so that the spectator can put the card in any place. At the moment when he puts the card back into the deck, quietly place your left little finger under this card and close the deck. Now the deck is in the palm of your left hand, and the little finger divides it into two halves, just under the card seen by the viewer; the other three fingers lie on top. Offer to shuffle the cards. Stretching the deck to the viewer, spread your fingers. With this movement, you will raise the upper half of the deck so that when it is opened it will be against you, and you will clearly see the front side of the bottom card of the upper half of the deck, that is, exactly the one that the viewer chose and noticed (Fig. 45).
2. Follow the same movements as just described, but instead of looking at the card in the middle of the deck, move it down with a volt (thus ending the second half of the volt). After that, pass the deck to the spectator for shuffling, holding it by the top edge between the thumb, index and middle fingers. Tilt the deck away from you at a 45° angle while passing. And since the front side of the card is facing you, you will perfectly see the card you need and remember it easily. The spectator, even if he notices that you were able to see the bottom card, will not attach any importance to this, since he does not know anything about the volte you made and that the card is at the bottom of the deck. You can also look at the map in a different way. It is done like this: instead of passing the cards to the spectator for shuffling, hold them in your right hand and take the flyer with one hand, while slightly and imperceptibly turning the deck towards you. You can peek at the card in an even simpler way: you shift the deck from one hand to another and at this time, slightly turning the cards face to face, you can see the card. 8. Card slip. For this technique, there should be a sponge imperceptible to the audience, moistened with water, which is used when counting money, so. how to do the exercise you need to slightly moisten your fingers. Place the deck in your left hand so that the fingers that you previously imperceptibly moistened with water lie on the deck of the deck. Open the deck with the right hand at a 45° angle, holding the top half along the narrow edges with the thumb and forefinger of the right hand. Raise the top half of the deck 2-3 cm above the bottom (Fig. 46). Thanks to this technique, the card lying on top of the deck, that is, the one that they want to slip, will not follow the movement of the top of the deck, but will be held in place with moistened fingers. Then bend your left hand, and the card, held by moistened fingers, will lie on top of the bottom of the deck, as soon as the other part of the deck raised up makes room for it.
9. Lowering the card. The magician shows the audience the bottom card of the deck, then lowers the deck with the suit down and, holding it in a horizontal position with his left hand, imperceptibly pushes out of the deck with the thumb and middle fingers of his right hand, as if the same card, but in fact another one that lay above the one shown. The performer gives the viewer the impression that the card has changed by itself. This is done as follows: the deck is held vertically with the index and thumb of the left hand with a speck to the palm so that the fingers are just in the middle of the deck on either side of it. The ring finger, previously moistened with water, should lie on the front side of the cards (Fig. 47).
Pay attention to fig. 48 - you will see that by moving the ring finger down, you can lower the front card a few centimeters below the other cards of the deck and, therefore, open the card following it in order by the same number of centimeters, that is, the one that needs to be shown to the viewer. After you have shown the card to the audience, turn the deck face down, and then slide the card in with your right hand, as above, and swap the cards. The basis of this technique is a simple movement of the fingers.
10. Turning the deck. For some tricks, it may be necessary to remove a certain card from a known place in the deck, or to deal a certain number of cards from the top of the deck, and then, unnoticed by the audience, continue to deal from the bottom of the deck. To do this, you need to make the upper and lower parts of the deck “kiss”, that is, turn the suit to each other. On both sides of the deck after the volt there will be only a speck. Take the deck in your left hand, holding it firmly with your fingers, but without the participation of the thumb. Pass your thumb under the bottom of the deck and press it slightly upward on the deck (Fig. 49) so that, having described a semicircle, the lower half of the deck is on top.
You can turn the deck over only by moving your hand. If the hand is kept still at this point, the audience will notice the movement of the thumb. Therefore, at the same time as the deck is turned over, a hand movement is made from left to right. 11. Jumping cards from one hand to another. This technique is more about juggling than the art of trickery, but nevertheless it is effective and is performed by almost all magicians, especially to fill gaps when moving from one number with cards to another. The cards are held in the right hand, with the index, middle and ring fingers resting on the top edge of the deck, and the thumb on the bottom. If you slowly bring your thumb closer to the rest so that at the same time the cards are slightly bent, then they will quickly begin to "jump" out of the deck one after another, and if you continue to squeeze them, then in the end all the cards will jump out of the deck one by one. The left hand must be kept at a distance of 15-20 cm from the right, fingers slightly bent, and then the cards released from the right hand will fall into the left. As soon as the last card reaches the left hand, the hands must be quickly brought one to the other. By aligning the cards in the left hand, you can again make them "jump" to the right. While the cards are "jumping" from one hand to the other, the magician quickly makes a half turn, and his hands with the cards describe an arc. The viewer gets the impression that the magician's hands are at a distance of about a meter from each other, in reality, the hands retain their original distance of 15-20 cm. 12. Throw a card. This trick serves as an adornment of the magician's work and is performed as an ending or an encore addition to card tricks. The magician throws cards at a distance of up to 30 m. With this throw, the performer proves to the audience that the cards he manipulated were the most ordinary. “The cards I have are the most ordinary, but they have one remarkable property,” says the magician and immediately throws five or six cards into the auditorium one after another. "You see their remarkable property - they themselves fly into your hands." This trick is performed very simply: take the card by the edge with the middle and forefinger of the right hand so that it is as close as possible to the wrist; to do this, bend the hand inward, towards the wrist. Throw the hand with the card forward in a quick motion and at the same time make a throw with the fingers holding the card. This movement of the hand and the movement of the fingers will give the card a strong rotational motion, and it will fly forward, spinning rapidly. With a certain skill and practice, you can learn to throw cards so well and accurately that they will fall on the person to whom you throw them. Throwing cards will be easier to do if you, after slightly moistening, stick two or three cards together; they will become heavier from this and will be able to fly further. 13. Bridge. The purpose of this technique is to enable the magician to easily, simply and confidently divide the deck of cards in the place he needs. We take the deck with the left hand so that the thumb lies obliquely on the deck. Cover the deck with your right hand for a moment, as if you were about to do a volt. Take the deck with the thumb and ring fingers of the right hand, then bend the entire deck slightly inward through the index finger of the left hand and immediately bend only the upper part of the deck in the opposite direction. From these two lightning-fast movements, both halves of the deck will take on a curved shape, with the upper half bent at its ends with a speck up, and the bottom with a speck down (Fig. 50).
If you remove the deck, then the concave parts will face each other, forming an ellipsoidal hole in the middle with a distance of 1-1,5 cm (it depends on the force with which you squeeze the cards, Fig. 51). This hole will force the viewer to unwittingly lift the deck exactly at the place of the larger bend of the two halves, when you ask him to do this.
In addition, the "bridge" makes it possible to remove the deck or make a volt very easily, since both halves of the deck will already be prepared for this with their bends. As you can see, for some examples we have given several ways of execution, so that the student can choose the most suitable for himself. Speaking not only about the manipulation of cards, but also with other objects, we repeat: you do not need to get carried away with the number of methods studied, the main thing is to monitor the purity of execution, choosing for yourself those that are most successful and suitable for individual data. Author: Vadimov A.A.
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