My favourite decks from the past year

Playing cards make the ideal gift, particularly the many beautiful custom decks available nowadays. Almost everyone can use a deck of cards at some point, so they have an instant and universal appeal, especially if a deck has some customized artwork and is packaged in an appealing tuck box.
In this list I want to focus on some of my favourite decks that have come out in the past year 2020. This year has been a challenging year for many of us in light of the coronavirus that has swept across the world. But in the middle of all this darkness, there have also been some bright spots, which include the brand new crop of custom decks that have appeared in the marketplace.
The suggestions I'm making are very much a matter of personal choice, and other playing card enthusiasts might make other choices. I haven't seen each and every deck that hit the market in the past year, and there are undoubtedly plenty of other worthy decks that qualify for a list like this. I've also not included any decks that have haven't yet been produced, even if they have been crowdfunded. This list strictly covers decks that you should be able to obtain from online retailers and resellers. I've also not included so-called "hype decks" that sell out almost immediately at the publisher level (e.g. Fontaines), but only those that enter retail channels and are more widely and readily available.
I've also included links to where you find them at PlayingCardDecks so that you can see images of the tuck boxes and cards for each item, and because they're the retailer I personally buy playing cards from the most. But you should be able to find these decks at most online retailers.

Popular Series

Several series of playing cards have become brands of their own, and achieved nearly cult status from collectors. This past year has seen some great additions to the line-ups from popular series that include big names like Jerry's Nuggets, Cherry Casino, and NOC.
● Jerry's Nugget Aqua Playing Cards - Jerry's Nuggets are a modern icon in the world of playing cards, due to the cult status of this deck, which was praised by cardists around the world. It was originally printed in the early 1970s, and was so much in demand in recent decades that copies fetched over $500 in the secondary market. A very successful reprinting of the original blue and red decks happened in 2019, and in the past year we've seen multiple reprints in different colours. Among my favourites in this series are the bright colours like orange, yellow, and green, which have all appeared in the past year. But there's also something for those who prefer a more muted look, such as steel and black. For more in this series, see Jerry's Nugget decks.
● Cherry Casino Tropicana Teal Playing Cards - The Cherry Casino decks capture a retro vibe, and are a throwback to the old fruit machines from gambling halls, with their distinctive cherry artwork. For me the real appeal of this series lies in the gorgeous card backs, which have a metallic sheen making them feel instantly different from all other decks. The face cards are all quite standard, so that makes them ideal for card games or card magic. Multiple new colours continue to appear in this series, such as Flamingo Quartz Pink, and most recently McCarran Silver. For more in this series, see Cherry Casino decks .
● NOC 3000X2 Purple Playing Cards - The acronym NOC originally stood for Nothing Only Colour, and in line with this the initial decks in this series were all very minimalist. Many people like to collect and use the NOC decks, and over time the series has evolved somewhat. The most recent releases show some new splashes of creativity, and with the NOC 3000X2 deck we travel into the future, past the year 3000. Vibrant purples and pinks inhabit the landscape of the cards, for a very modern and flashy look that is particularly well suited to cardistry. This particular deck is also available in a matching pink version. For more in this series, see NOC decks.

Popular Brands

There are several big brands that you can count on for quality, and this year was no exception, with big companies like Theory11, Ellusionist, and Art of Play all continuing to contribute wonderful playing cards to the market.
● James Bond 007 Playing Cards - When it comes to glamorous tuck boxes, it doesn't get much better than the luxury of playing card producer Theory11. This wonderful deck is a tribute to agent 007, James Bond. I collect most of the Theory11 decks, and this one is particularly terrific, with a supreme tuck box, and Bond-inspired paraphernalia on the court cards and on the card back. Close observers will find many Bond gadgets and more. Theory11 have put out several stylish releases in the past year, another one being the Hollywood Roosevelt deck. For more, see Theory11 decks.
● Shadow Masters Legacy v2 Playing Cards - One of the companies at the forefront of the custom playing cards movement was Ellusionist and their Black Tiger deck continues to be a modern icon. While they've since been overshadowed by the many custom decks produced in the crowd-funding era over the past decade, they continue to produce some memorable decks from time to time that are worth picking up. The Shadow Masters Legacy v2 is a black deck in the classic Ellusionist style, and represents the kind of thing that made them great to begin with. A jet black background is the chief feature of this deck, and the red and white used for the artwork and pips stands out beautifully against the inky black. This deck compares favourably with any other deck from the modern era. For more, see Ellusionist decks.
● Yellow Wheel Playing Cards - The brand Art of Play is the home of influential cardists Dan and Dave Buck. Their Red & Blue Wheel decks are among my all-time favourite decks, with gorgeous metallic inks as part of a split-pip design. The Yellow Wheel deck is their latest entry in the Wheel series, that retains the original card backs but now in yellow. But the highlight is the card faces, with the split pips employing a stunning metallic silver that complements the cards beautifully. This is a completely custom deck that is certain to impress anyone who sees it. Art of Play produces many new decks each year, and their Henry & Sally deck is a fun novelty release also worth checking out. For more, see Art of Play decks.

Popular Designers

They are a very select group, but there are some notable designers in the playing card industry who have developed a real name for themselves, have generated a large following of loyal fans, and continue to produce high quality custom decks on a regular basis.
● Italia Radiosa Playing Cards - Italian designer Giovanni Meroni is the man behind Thirdway Industries, and his playing cards are in high demand from collectors around the world. His signature style is immediately recognizable in each of his decks, and this one is no exception. Along with its companion Italia Segreta, it's themed around the wonders and secrets of Italy. The unique court cards are the real highlight, showcasing Giovanni's usual creativity and style. The number cards are also fully custom. These are the kinds of decks that will hold their value well in years to come. If you want even more vibrant colours, check out Modern Idols, from the same creator. For more, see Giovanni Meroni decks.
● Postage Paid Playing Cards - Behind the brand Kings Wild Project is Jackson Robinson, who is one of the few professional designers that actually makes a living out of designing playing cards. This deck was inspired by the idea of playing cards functioning as postcards, each with its own stamp and post paid stamp. All 50 US states are represented on different cards, and everything about this deck is fully customized. This deck was produced in only limited numbers, so it will be out of stock in most places. But if you're quick, you can still grab Jackson Robinson's General Admission deck, which applies a similar concept to tickets, with each card representing a vintage ticket stub from the early 20th century. For more, see Jackson Robinson decks.
● Kodiak Playing Cards - From popular designer Jody Eklund and his Black Ink Playing Cards Company, comes this delightful deck of playing cards that is geared to the poker player and collector. The cards have a very classic look, but offer a fresh take on the designs of the court cards and pips. Jody is highly respected for his approach to graphic design, and these cards will prove an excellent choice if you like playing card games, and want to bring something stylish and attractive to the table. For more, see Jody Eklund decks.

Magician Decks

Most magicians can perform their magic with any deck, but typically they prefer to do card magic with a deck where novelty and customization are minimal, so as not to distract from their magic. These decks are well suited to performing magic, and contain bonus gaff cards or other secrets that enable them to produce miracles not possible with ordinary decks.
● Card College Playing Cards - These decks are a tribute to the most outstanding modern teacher of the fundamentals of card magic, Roberto Giobbi. Mr Giobbi is the author of Card College, a series of best-selling books which are the modern gold standard for learning card magic. Available in red and blue, these decks are simple and practical for the working magician, and as a bonus each contains two double backer gaff cards. If you want more luxury, check out the stunning Luxury 3 Deck Set, which has even more stylish cards, individually numbered tuck boxes with unique origami style features, packaged in an attractive acrylic box - the ideal collectible or gift for magicians.
● Remedies Royal Blue Playing Cards - The Remedies decks come from popular creators Daniel Madison and Daniel Schneider, and this is a successor to the Remedies Scarlet Red deck. Many collectors love the Black Roses brand of playing cards, and collect whatever they produce. This blue Remedies deck has a classic and minimalist look with bold blue card backs, and is very functional and practical. The inclusion of a special Angle Zero gaff makes it ideal for magicians.
● DMC Elites Red v5 Playing Cards - Of all the marked decks I own, the DMC Elites is easily my first choice whenever I want a marked deck with cards that can be easily read from a distance, due to the clever and yet almost invisible marking system it uses. This deck has previously been released in several different colours, and now incorporates Tamariz's Mnemonica stack. All you need is the deck, but there is a terrific Passport book available separately, which will give you some great ideas for routines you can pull off with this great marked deck. For more, see Marked decks.

Cardistry Decks

Card flourishing has really boomed in recent years, and especially shines when cardists use a deck that has colourful and striking patterns optimized for cardistry, that enhance the visual aesthetics of cards in motion, as these decks show.
● Neon Orange Cardistry Playing Cards - This deck represents Bicycle's attempt to meet a demand for a relatively low-cost deck geared towards card flourishing. The card backs have a geometric design, and the faces are all identical and completely non-standard, showcasing the latest evolution in playing cards optimized entirely for cardistry. Bright colours ensure that the cards look visually appealing in fans, spreads, and flourishing moves. Alongside this vibrant orange deck is its blue companion, the Neon Blue Aurora deck.
● Autumn Circle Cardistry Playing Cards - Tally Ho is a classic brand that USPCC has been producing for a long time. The circle back design of the typical Tally Ho deck has become iconic, and is especially appreciated by those who enjoy card flourishing. Each year the folks at Bicycle produce some in-house decks for special occasions, and the Autumn Circle Back deck is a lovely result. The colours capture the warmth and glow of autumn leaves and the mood of harvest time, while the pattern on the card backs is perfect for cardistry.
● ArrowDynamix Cardistry Playing Cards - Given the high volume of cardistry decks appearing all the time, it can be difficult to come up with something completely original, but this minimalist deck has accomplished exactly that. Each card features a giant vertical arrow on the card backs, and a giant horizontal arrow on the faces. With carefully choreographed sequences and moves, you can create truly unique patterns and effects that you simply can't achieve with any other cardistry deck.

Animal-themed Decks

Do you love animals, or do you have an animal lover in your life? There are a lot of wonderful custom decks that are tributes to our four legged friends, or depict some of our favourite creatures.
● Woof and Whiskers Dog Playing Cards - The real appeal of this deck is the cute tuck box, which has cardboard ears that fold up, to complete the look of the friendly dog on the front of the box. I would have liked to see some more customization with the number cards, but it's still a very charming deck, with delightful custom artwork on the court cards and aces. This is one of two Zoo 52 decks, so if you like the Dog deck, you'll also want to pick up the Playful Paws Cat deck, which is equally cute.
● Aviary Playing Cards - There are a lot of independent creators that produce Bicycle branded playing cards with the help of industry giant USPCC, but this big name producer also releases its own in-house decks. This is my favourite of their four newest releases that hit the market at the end of 2020, and is a very classy looking deck with artwork inspired by a traditional look, but with adjustments to give it a custom feel, and the presence of several birds carefully positioned throughout the deck. Of the four new releases from Bicycle, the Sea King deck is also proving to be very popular.
● King of Tigers Playing Cards - If you're looking for a deck with bling, this is it. The card backs have a borderless tiger skin pattern, which has been printed with some of the latest technology that makes use of foil for a truly eye-catching look. The tuck box is even more glamorous. While the court cards are clearly inspired by traditional courts, the Jokers bring back the tiger theme strongly, and the tiger skin look recurs throughout the deck.

Food-themed Decks

Recent years have seen some wonderful novelty decks themed around different kinds of food. These are always a great way to whet your appetite for a card game, or to show off to family or friends, and have proved a real hit with collectors.
● Squeezers V3 Playing Cards - Good luck getting your hands on decks from this extremely popular series from Organic Playing Cards, because they sell out quickly. These fruit inspired decks have delightful tuck boxes, and this grapefruit themed deck even comes in a tuck box that looks like a juice box, and is actually scented like grapefruit. The cards themselves are quite practical, but add humorous grapefruit themed elements to the court cards, and new bold colours. OPC's 2020 releases also included the watermelon-themed Carvers deck, while their current release sees the brand go in a slightly new direction with the corn-themed Shuckers.
● Noodlers Chicken Playing Cards - If you like the concept behind the Organic Playing Cards series, you'll probably also enjoy this deck, which has a similarly styled tuck box to the Squeezers decks, but represents a packet of ramen noodles. The orange colour on the card backs and pips has also been inspired by the noodles theme. The artwork on the court cards has a quaint and cute style, with each character depicted in a light hearted style quite different from standard courts, and all holding a bowl of noodles. For a final laugh, the Jokers provide us with the necessary packet of "chicken seasoning" to add to our noodles.
● Citrus Playing Cards - Created by Flaminko, the Deliciousness series has been somewhat overshadowed by the more successful fruit inspired cards from Organic Playing Cards. But I love the Flaminko decks, because they apply customization to all elements of the cards, including the pips. This novelty deck is well suited for card flourishing, card games, and collectors, and cleverly captures all that is juicy and wonderful about citrus fruit.

Music-themed Decks

Music is another evergreen theme, and there's a solid range of lovely decks for the music lover, whether your taste is classical or more contemporary rock-and-roll.
● Composers Mozart Playing Cards - This deck is part of a series that also includes other composers like Bach. These decks are true collector pieces, and make a wonderful tribute to some of the greatest composers of all time. The tuck boxes have a very classical look, and metallic ink enhances the gorgeous card backs. Meanwhile completely custom artwork on the faces emphasizes a vintage and classical feel. They are great for music lovers and collectors, but if classical music isn't your thing, then check out the Rock and Roll deck.
● Piano Player Playing Cards - If the piano is your instrument of choice, this is a deck for you. The creative tuck box is available in two styles, one with two black keys and the other with three black keys, which means you can place two decks alongside each other to create a larger keyboard. Fully custom characters inhabit the court cards, with the keyboard motif returning in the details of the artwork. Small touches like this really make this creative deck a thing of unique beauty.
● Soundboards v3 Midnight Playing Cards - Remember the old walk-man cassette players? In the 1980s these revolutionary electronic devices were among the first to make your personal music collection portable. The Soundboards deck replicates the look of a classic walk-man, and the Jokers complete the look by bringing the cassette tape look into the box. This Midnight edition has a dark look, so you might also want to consider the red deck if you prefer a more traditional colour.

Fiction & Film themed Decks

Most of us love a good story, whether it's in the pages of a novel or on our screens. Here are some great custom decks that are loving tributes to some of the best from the worlds of fiction and film.
● Jane Austen Playing Cards - Fans of the classic novel will appreciate the loving treatment that Jane Austen's famous novels have received in this delightful tribute from the Art of Play label. Each suit represents a different novel, with the court cards featuring the lead characters in the story. The design of the characters is inspired by period costumes and reflects the fashions from the time in which the stories are set. The classy tuck case ensures that everything is nicely packaged and well presented.
● Star Wars Playing Cards - Theory11 achieved a real coup by acquiring the rights to bring the Star Wars brand to playing cards. They were the perfect company to ensure that the result was a classy deck that did justice to the world of the films. This pair of Light Side and Dark Side decks begins with a top quality and highly attractive tuck case, as we've come to expect from Theory11. The court cards all feature different characters from the movies, and the design is the perfect blend of customization and playability, making this a practical deck you can bring out for your favourite card game, or to give to the Star Wars fan in your life. A similar pair of decks was produced later in the year in White and Black.
● King Arthur Playing Cards - The result of a collaboration between Riffle Shuffle and Studio Muti, this pair of red and green decks tell the story of the famous Arthurian legend. For me it's a personal and nostalgic childhood favourite, in light of the adventure and imagination it evokes. But as impressive as these decks are, they pale besides the King Arthur Gold deck, which has gold metallic ink on the faces, and gold foil on the card backs, for a truly extravagant look. Inside and out, this is a stunning tribute to a timeless classic from the world of fiction.

Space-themed Decks

So I cheated. I already have a section devoted to cardistry, so I figured I'd sneak in a second category, by including some cardistry decks that all have a space theme. These decks all feature colourful visuals that work well for flourishing, but can also be enjoyed by collectors who appreciate their vibrant colours and exuberant designs.
● Solokid Constellation Playing Cards - This set of twelve decks captures the twelve different star signs. It was produced by Bocopo, a company well known for producing colourful custom decks that appeal especially to cardists and collectors. These decks are typical Bocopo offerings, with evocative colours that are unique to each different deck, to help capture a different feeling for each and every constellation. If you like vibrant colour, you'll certainly find something to enjoy here.
● Stargazer New Moon Playing Cards - Several different decks have now appeared in the Stargazer series, but the recent New Moon deck is probably my favourite. The circular moon that appears on all the card backs makes it an ideal deck for card flourishing moves like spins and twirls. The face cards have some truly vibrant colours, and capture well the feel of a night sky bursting with colour and life.
● Sirius B v3 Playing Cards - I fell in love with the style of the original Sirius B deck, so this third edition was always going to win me over. The court cards consist of a blur of colours that look like paints mixed together, and this style has also been applied to the pips. The colours are the real appeal here, and the signature design of the card backs also looks very nice in card flourishes.

Transformation Decks

I personally adore transformation cards, and consider them to be one of the most fascinating and memorable types of playing cards there is. The idea is that you take the pips and incorporate them into a larger picture that forms a unique work of art, for each and every card in the deck.
● Cotta's Almanac #1 Reproduction Playing Cards - This historic deck was first created in 1805 by J.C. Cotta, and was the very first of its kind. Themed on the "Joan of Arc" play by Schiller, the beauty and creativity of these cards will still win over collectors today. Lovingly produced in a high quality modern edition, this recreation is the first of the entire series of Cotta transformation decks that is being reproduced by PCD.
● 5th Kingdom Playing Cards - This deck is possibly my favourite original release from PCD in the past year. It is an outstanding example of the creativity and originality of a semi-transformation deck, where the pips have been cleverly incorporated into the artwork. Each suit represents a different culture, turning each individual card into a work of art that can be admired and enjoyed.
● Pack of Dogs V2 Playing Cards - This transformation deck is the work of John Littleboy, who has produced a number of such decks in his inimitable style, including Pack of Dogs, Kitten Club, Mermaid Queen, and Bag of Bones. The number cards are my favourites, and in this deck each of these represents a larger art piece with a dog. Each suit has a progressive image, so they don't feel totally unique from each other. It's more like a series of consecutive snapshots, and you can use flip animation to tell the story. Littleboy's Kitten Club V2 deck applies a similar concept to cats.

In-House Decks

PlayingCardDecks doesn't just sell playing cards, but Will Roya also uses his wealth of experience to team up with designers and graphic artists to produce high quality custom decks under the PCD label. Here are some great custom decks that were published in-house over the course of 2020.
● Astronaut Playing Cards - This novelty deck is a delightful creation that will please anyone who has an interest in space and space travel, in light of its unique theme. The Kings are all depicted as astronauts, while the Queens and Jacks represent space travellers. The card backs have a futuristic look with neon lights, and this look carries over to the number cards, which are highly customized with unique red and blue pips.
● Beekeeper Playing Cards - There are plenty of bee themed playing cards already on the market, but the artwork style gives this one a truly unique feel. Two decks were produced, one with light card backs and the other with dark card backs. This is a great novelty deck for the collector, because there's especially some delightful creativity to be found with the bee-inspired pips, and the detailed custom artwork on the court cards.
● Testament Classic Playing Cards - This is a Biblical themed deck created by artist Ben Green. It's intended as an art deck, with the images on the cards depicting Biblical characters from well-known narratives. Representing a dual love for playing cards and a love for Bible-inspired art, this deck will especially appeal to the collector.

Out-of-the-Ordinary Decks

I'm a sucker for highly unusual decks with a high degree of novelty, and even though these are not ones I'd typically use for playing card games, they have very unique features that make them stand out from your average custom deck.
● Starry Night Puzzle Playing Cards - Fancy a deck that doubles as a jigsaw puzzle? This clever deck takes its inspiration from Vincent Van Gogh's famous painting, The Starry Night. The artwork on the card faces is all taken from the painting, and all the cards can be pieced together to make a single giant picture, thus effectively functioning as a large puzzle. Yet each card has clear indices so it's still something you can use for card games too. Definitely unique and out of the ordinary, this set of playing cards is a perfect choice for fans of classic art and paintings.
● Falcon Razors Deluxe Throwing Playing Cards - Rick Smith Jr has made multiple world records in throwing playing cards. His baseball background holds him in good stead, but anybody can learn to throw playing cards if you use the techniques Rick teaches. These throwing cards were a collaboration with legendary flourisher De'vo, and were featured in one of this year's viral videos from Dude Perfect, which featured Rick and his amazing card throwing. The cards are slightly thicker than standard Bicycle stock, to ensure extra durability and performance for card throwing.
● AQUA Invisible Plastic Playing Cards - If you're looking for something completely different, this might hit the mark. This is a ground-breaking deck that is the closest thing to being invisible. All the cards are made out of completely transparent plastic, after which a high gloss transparent printing is applied to selected areas of the cards to produce the designs and pips. So each card is effectively completely transparent, and yet you can see its unique artwork and determine its value and suit. The handling is surprisingly better than you'd expect for a completely plastic deck, and it's certainly something unique.

Other Gift Ideas

Do you want to let your gift recipient make their own decision about what to get, or are you not quite sure what to buy? Here are a couple of special gift ideas that might help out, even if it is to give your family or friends a convenient way to enable you to select your own gift!
Firstly, there's a wide range of accessories available for playing cards, like card clips, card cases, and more. Alternatively, consider a gift card, which is available in amounts of $10, $25, $50, $100, and $200. There's also the popular Pip Box Club, which has been around for over two years. Subscribers get a selection of decks and goodies shipped to them each month, and offers great value with each box.
Boxing Day Sale: Right now you can take advantage of a special sale at PlayingCardDecks, and save $10 off any order over $30 by using the code box20. This coupon is valid from Boxing Day until the end of 2020.
Happy shopping, and happy holidays!

Roberto Giobbi is a highly respected magician, famous for his Card College series of books that teach the fundamentals of card magic. I recently did an interview with Mr Giobbi about playing cards and magic. Below am posting some excerpts from this interview (with permission) that will give people new to card magic some valuable tips.
The full interview can be found here: Q&A with Magician & Card Handling Expert Roberto Giobbi.
THE INTERVIEW
What is some advice you would give to a young person just starting to learn card magic for the first time today?
Understand that magic is a craft and an art. Learn the basics first, and then start to build your skyscraper, which will now have a solid foundation. To start card magic (or any other discipline for that matter) with YouTube tutorials, is like starting to build a house on the fourth floor, or as Goshman used to wickedly say about magic clubs, the pre-Internet institutions "teaching" magic: "The blinds lead the blinds." Unfortunately in today’s world of Internet this is more true than ever (as if a truth could be less true…).
Finally three pieces of advice:

1. Use books, visual media and personal exchange in wise proportions.
2. Invest your money, don’t spend it – learn the difference.
3. If you are going to buy something anyway, get the better quality, even though it is more expensive. What counts is not its price, but the difference in price to that which you would buy anyway, and that difference more often than not, is not so much.

What kinds of playing cards are best for card magic?
The perfect playing card does not yet exist. And most likely it never will, for not only do numerous objective and often conflicting criteria enter into the equation, but also one's personal tastes and sensibility. It may well take you years to find the cards you like best.
There are as many brands of cards as there are grains of sand on the proverbial seashore. A good card consists of three layers: a face layer, a center layer for stiffness, and a back layer. The quality of the card is determined by the quality and grain of the paper, the glue, which becomes the center layer, the treatment of the outer surfaces called "finish" as well as the precision of the printing and the all-around cut.
Among the many designations used to categorize the treatment of the outer layers of playing cards, the most commonly seen are plastic coated, linen finish, resilient linen finish, air-cushion finish, ivory finish and Nevada finish, but there are several more. Buy one of each of these decks and experiment with them. But be prepared to change your preference in the course of time. Criteria that seem important to you when you begin your study may seem less so as you become more expert.
Use a standard fifty-two card deck plus the accompanying jokers, exchanging Jokers from two decks to have two identical Jokers in each; this is like having a duplicate, and it can facilitate certain maneuvers. If you can do magic with a fifty-two card deck, other decks will pose no problems, whereas the reverse is certainly not the case.
Should we use bridge-sized cards or poker-sized cards, and why?
The fundamental distinction is between poker-size and bridge-size cards, although there are also miniature decks and jumbo decks. Poker-size decks are somewhat wider than bridge-size decks. My advice is to use poker-size cards from the very beginning, for practical reasons. I shall outline the pros of poker-size cards:

• Poker-size cards have larger face, and their design is more generous, less crammed, and therefore more aesthetic, and their proportion is closer to the golden ratio.
• Poker-size cards have more surface area available to press against, and are better for many tricks and techniques because they provide more cover.
• Poker-size cards are more pliable thanks to their greater width, making techniques like the riffle shuffle easier and more attractive to execute.
• Poker-size cards are more widely used throughout the world, and it is mainly in Europe that laymen prefer bridge-size cards.
• Poker-size cards are generally manufactured by companies, who also supply casinos with decks, and thus must be trustworthy brands, or they would not be used by gambling establishments.
• Poker-size cards are in my experience generally better quality and have more attractive back designs - would you want to work with less than the best?
• Poker-size cards are used by experts, and have become a status factor in the magic profession.

Finally, if you practice with poker-size cards, you can always perform with bridge-size cards if offered a borrowed deck.
What kind of design is best for playing cards used for card magic?
The best back designs for the card conjurer have a white border. Prominent examples are Bicycle Rider Backs and Tally-Ho Circle Backs. Borders are more pleasing aesthetically. They also relax the eye and facilitate the execution of many techniques.
For gambling routines, though, cards with a borderless back design, particularly the Bee and Steamboat brands, are recommended, as such cards are generally used in professional gambling. This is because of the widely held belief that such cards are more difficult to mark on the back - which is a total myth.
What other advice do you have for selecting a deck to use for card magic?
Once you have found the cards that work best for you, stick with them until you have a compelling reason to switch. Work exclusively with these cards. You can put together most trick decks yourself or - for certain popular brands - order them from a magic store. You can also make trick cards to match most decks yourself or have them made for you.
Whether performing for a large or small audience, always use a new deck or one in new condition. New cards guarantee optimal execution of techniques and identify you as a polished artist, one who pays attention to detail; so don't try to skimp on this. Never forget that the deck of cards is your instrument.
Is there any advantage to using a close-up pad of some kind?
When you perform card magic, you should be able to do certain tricks on any surface. Whether you have a special pad or mat, a padded or unpadded table cloth, or the bare table, as a magician you should not be dependent on the surface. Nevertheless, in practice sessions and in most performances - certainly in formal performances - you should arrange for every possible advantage. In addition to warm, well-cared-for hands and a new deck, a proper pad to perform on belongs in your arsenal.
Use as large a pad as possible, since this permits larger motions. The underside of the pad should be made of slip-proof rubber, the topside of velvet or velvet-like material. Avoid felt, which becomes fuzzy, gets under your fingernails and soon leaves the top looking used. Between the top and bottom layers of the pad there can be an interface of sponge rubber to provide necessary softness, in technical parlance called "give".
As for color: green is considered a calming and neutral color, which is why many surfaces made for card playing are green. The color is surely a question of taste, but you should avoid bright colors, which irritate the spectators‘ eyes.
Do you have any advice about hand care?
Your hands will be on constant display during performance. Can you risk having them not look their best? Pay attention to your hands, for they represent your greatest investment in the art of performing magic with cards. Well-groomed hands will give you the same feeling of well being as wearing a freshly laundered and pressed shirt.
Does it really matter how you do basic things like dealing or spreading cards?
Dealing cards would seem to be so elementary a topic, you may wonder why it is necessary to discuss it at all. But once again there is a right way and a wrong way to do things. Initially, either would serve the purpose equally well, but for advanced techniques precise positions of the fingers are critical.
The same is true with spreading cards. This technique will be used often with the cards either face up or face down. Once again we are analyzing a procedure with which you may feel you are already completely familiar, for who has not spread the deck between the hands when picking out cards? But pay attention to the positions of the fingers and the manner in which cards are pushed from hand to hand. This technique is the foundation on which sleight of hand will also be built.
I already know how to shuffle a deck. Do I really need to re-learn how to do this?
There are different ways to shuffle a deck of cards, including in the hands, or on the table, and in the air. Even though you may think you already know how to do these moves, and indeed have probably been shuffling cards for a long time, you should learn methods to professionally do it. These methods are elegant because they are efficient and economical. However, they also use precise fingering, which will become important when you want to learn more advanced sleights based on these grips, such as jog- and break-shuffles.
It is important that you learn to do these moves properly, even if this means unlearning some handling habits. At the beginning some of the new "ways" will feel strange, but within a few days you will feel at ease with them and recognize how well they allow you to control the cards; control is what shuffling is about.
How important is the overhand shuffle, and its technique?
Overhand shuffling is a basic tool of card conjuring. More likely than not, most of you will already have mastered a version of the overhand shuffle. But even if you have been performing the overhand shuffle since you first learned to play cards, you will soon recognize that the proper method employs a technique that feels somewhat different. The grip will probably seem a bit unconventional, and you may wonder why this retraining is necessary, since your present overhand shuffle technique is more than adequate to mix the cards.
However, as soon as we get to the first actual techniques using the overhand shuffle, such as control of top and bottom stocks or the control of selected cards, you will realize that the "family style shuffle" is totally inadequate for a precise and secure execution of such sleights. The basic method I teach is a prerequisite for successful execution of all subsequent overhand shuffle techniques. Of particular importance are the positions of the forefinger and the little finger of the left hand, as well as the way the cards are shuffled off. With a little patience and perseverance the proper technique will open a door to a big room you probably didn’t know even existed; it is the room to artistic and expert card handling. Please believe me if I say that it is worth mastering.
How important is the riffle shuffle, and its technique?
The riffle shuffle is the shuffle preferred at gambling tables. This is primarily because it was once thought that the riffle shuffle made cheating more difficult. Today there is more literature devoted to various riffle shuffle techniques than to any other shuffle. Anything you can do with an overhand shuffle can be done with a riffle shuffle, and much more besides.
Although most card players know and use the riffle shuffle today, many people still find it fascinating when it is neatly performed, perhaps partly because of its association with gambling and its lore. You should therefore include in your performances tricks using the riffle shuffle, and become familiar with the basic riffle shuffle techniques. Don’t neglect to master these basics from the outset, as they will be the foundation for more advanced techniques you will encounter later.
Also learn how to square after shuffling. The method first recommended in print in 1902 by the mysterious card sharp S. W. Erdnase is a particularly efficient and elegant method of doing so. The Waterfall Riffle Shuffle is also a technique to learn, and is not only impressive to spectators, but is also very useful when no table is available.
What simple card flourishes should beginners learn?
● Dribbling cards is a technique that has numerous uses. Among them are: as a flourish, as a method for having a card chosen and replaced, as a demonstration of the performer’s lack of control over the cards, as a way to prepare for a palm, by affording a reason to briefly hold the deck with two hands, and much more.
● The Ribbon Spread is a flourish, but also a utility move that serves many purposes, such as having cards selected and replaced, showing that all cards are different and mixed, glimpsing a card at a certain position, and a large etcetera. You will be astonished at the incredibly strong impact this gesture with the cards has on laymen. Somehow the technique appears much more difficult than it is. Knowing it has such an impact, use it sparingly, acknowledging that you are accomplishing something extraordinary.
● The Riffle is a little flourish that should be used sparingly and deliberately. I emphasize this here because the riffle can become a nervous tic, subconsciously repeated without realizing that it annoys the spectators. In such circumstances it communicates an impression of clumsiness. Yet, if introduced judiciously, it can underscore dramatic moments, providing an artistic highlight.
●The Swivel Cut is the creation of the American vaudeville legend, Nate Leipzig. It is a two-handed flourish that has many possible applications to trick techniques.
● The Charlier Cut can be used as a one-handed pass - that is, a secret cut not intended to be seen by the spectators - but can also be used as a visible flourish, and even as a gag. It is the invention of the nineteenth century enigma, Charlier.
● Different methods of turning over the top card are suited for turning over a previously selected card at the climax of a trick, or simply to show the spectators a card that will be used subsequently.
Is there anything else you'd like to share about magic, or about playing cards?
I’m amused when I read or hear that, “Card tricks are boring,” or, “Women don’t like card tricks.” This is like saying a piano concert is boring, or women don’t like piano music. Playing cards are merely an instrument, and yes, preforming with them can be boring, if used by an uninspired, boring performer. I cannot count the times where I did not do card tricks in a performance, and spectators begged, "Can you also do a card trick, please?"
Clearly, most card tricks are connectional, rather than purely visual. It is therefore of utmost importance to choose good pieces (there are many bad magic tricks, not just card tricks), understand them thoroughly, practice them assiduously, and then perform them capably by appealing to the spectator’s logos (intelligence) and pathos (emotion), and do it with ethos (sincerity and competence); otherwise no success can be expected. That requires a bit of talent, much passion, and a lot of work. As the saying goes, "You can’t have something for nothing, and there is always a price to pay, even death costs your life."
CLOSING THOUGHTS
If you are interested in learning more about card magic, you can't go wrong by checking out some of Giobbi's books or videos. I wish that when I began my journey into card magic many years ago, instead of focusing on learning some tricks, I'd started by learning the fundamentals of card magic, and proper card handling. The best advice a budding magician can receive is to start with the fundamental techniques. You'll get far more enjoyment out of your card magic, and progress far more quickly by first learning the proper and basic techniques of card handling, including shuffling a deck, and controlling cards. Once you acquire skills like these, a large world will open up for you.
So where can you start? I'd suggest two resources, both of which Mr Giobbi has made available for free or a nominal cost, as part of his love for the art of magic, and his genuine desire to help new magicians and new card handlers get off on the right foot:
● Video: Fundamental Techniques - Giobbi has an entire course that teaches the fundamentals of card magic, corresponding to the first two books of Card College. He's made the first lesson free, and it covers the following topics: Basic Grips, Squaring, Various Cuts, Spreading & Outjogging Cards, Dribbling, Various Deals, Various Break Handlings, Step, Ribbon Spread, Preparing the Card Case. It's more than half an hour long, and has excellent content.
● E-Book: Introduction to Card Magic- This e-book was created in 2012 (recently updated in 2019) as an introductory course for newcomers to card magic, and features 150 pages of extensive instruction about the basics. It is in PDF format, and is dedicated to teaching general card handling techniques. It also includes half a dozen solid card tricks that are basically self-working. It's well-illustrated with accompanying photographs and examples, and contains links to youtube videos illustrating the move or shuffle that you're learning. To promote the art of card magic and to help budding magicians, Giobbi has made this available for just €6.95 via his website.
If you have a real interest in card magic and want to learn more, my top recommendation is the eight hour video course that covers all the basics of card magic, entitled Card College 1 & 2: The Complete Course. In terms of books, Giobbi has authored an excellent series of three books as part of his Card College Light Trilogy, each containing around 20 self-working card tricks of the highest quality. If you are ready for more advanced material, and want to take a more serious course in intermediate and advanced card magic, then try the five volume Card College 1-5 set, which is a top textbook of card magic.
Where to learn more?

• Complete interview: Q&A with Magician & Card Handling Expert Roberto Giobbi
• Starting resources: Fundamental Techniques (free video), Introduction to Card Magic (€6.95 e-book)
• Further resources: Card College 1 & 2: The Complete Course (video), Card College Light Trilogy (books), Card College 1-5 (books)

Roberto Giobbi is a highly respected magician and expert card handler, famous for his Card College series of books that teach the fundamentals of card magic. I recently did an interview with Mr Giobbi about playing cards and magic. Below I am posting some excerpts from this interview (with permission) that relate specifically to playing cards and the proper care and handling of a deck. Much of this has direct relevance to cardistry and his expert insights will be of real interest to cardists.
The full interview also includes content about magic that will be of less direct relevance to cardists, but can be found here for those who are interested: Q&A with Magician & Card Handling Expert Roberto Giobbi.
THE INTERVIEW
Why do your refer to playing cards as your "instrument"?
Rather than calling playing cards a prop, as it is often done in the technical literature, I would like to consider them to be an instrument of the card conjurer, like the piano or the violin is an instrument to a musician, and I would even dare saying that cards are the most important and most widely used instrument in all of conjuring.
The more you know about your instrument, the more sensitively you will handle it and the more expressively you will master it, making it an extension of who you are.
What kind of playing cards do you mostly use today, and what are the reasons for this choice?
After USPCC bought up Fournier, the quality of the cards started to change, for my taste to the worse, so I again switched back to Bicycle Rider Back and Tally-Ho Circle Back when performing for magicians, and Bee or Steamboat for gambling demos. For my professional work in front of lay audiences I still use Fournier 505, for practical reasons, since many of my special cards and decks are by them.
I still have to find the "perfect" deck – I don’t think it exists. But maybe the upcoming "Card College Playing Cards" by TCC is the one! (planned for release very soon)
How do modern decks compare with the ones you used at the start of your career, and how have playing cards changed over this time?
For magical purposes it matters whether the cards are cut from top down or bottom up, because it influences in which direction you do a Faro Shuffle or a Perfect Table Shuffle. In recent years there has been a tendency to cut them bottom up, which favors table techniques, and shows the influence and number of amateurs in thumb field. Also, it is clear that companies do what they have to do: save as much as they can by economizing in materials in order to maximize their earnings. I cannot judge whether this is good or bad for the economy, but it certainly isn’t for the cards.
The advantage of all this is that new companies with new and creative approaches are emerging and producing cards nowadays. Still, even the good cards produced nowadays have specific characteristics, and none can satisfy the needs of all people and all purposes. Therefore the search for a good deck is made even more difficult than it used to be, because there are so many. It is similar to information: in my time it was hard to come by because there was so little, today it is hard to find, because there is so much.
What kinds of playing cards are best?
The perfect playing card for card magic does not yet exist. And most likely it never will, for not only do numerous objective and often conflicting criteria enter into the equation, but also one's personal tastes and sensibility. It may well take you years to find the cards you like best.
There are as many brands of cards as there are grains of sand on the proverbial seashore. A good card consists of three layers: a face layer, a center layer for stiffness, and a back layer. The quality of the card is determined by the quality and grain of the paper, the glue, which becomes the center layer, the treatment of the outer surfaces called "finish" as well as the precision of the printing and the all-around cut.
Among the many designations used to categorize the treatment of the outer layers of playing cards, the most commonly seen are plastic coated, linen finish, resilient linen finish, air-cushion finish, ivory finish and Nevada finish, but there are several more. Buy one of each of these decks and experiment with them. But be prepared to change your preference in the course of time. Criteria that seem important to you when you begin your study may seem less so as you become more expert. The advantage of plastic coated cards is that they last longer and generally stay flat. But they also cling less to one another, which can make them more difficult to fan evenly. Then again they are better for false deals and false shuffles, having less friction.
Should we use bridge-sized cards or poker-sized cards, and why?
The fundamental distinction is between poker-size and bridge-size cards, although there are also miniature decks and jumbo decks. Poker-size decks are somewhat wider than bridge-size decks. My advice is to use poker-size cards from the very beginning, for practical reasons. I shall outline the pros of poker-size cards:

• Poker-size cards have larger face, and their design is more generous, less crammed, and therefore more aesthetic, and their proportion is closer to the golden ratio.
• Poker-size cards have more surface area available to press against, and are better for many tricks and techniques because they provide more cover.
• Poker-size cards are more pliable thanks to their greater width, making techniques like the riffle shuffle easier and more attractive to execute.
• Poker-size cards are more widely used throughout the world, and it is mainly in Europe that laymen prefer bridge-size cards.
• Poker-size cards are generally manufactured by companies, who also supply casinos with decks, and thus must be trustworthy brands, or they would not be used by gambling establishments.
• Poker-size cards are in my experience generally better quality and have more attractive back designs - would you want to work with less than the best?
• Poker-size cards are used by experts, and have become a status factor in the magic profession.

Finally, if you practice with poker-size cards, you can always perform with bridge-size cards if offered a borrowed deck.
Is it necessary to treat playing cards with fanning powder or in any other way?
Some magic books will tell you that the cards must be specially treated, but generally this is in reference to cards for the stage manipulator. Cards for close-up performances need not be treated. So forget about fanning powder, simply use a good quality new deck.
Decks with rough edges, or ones that do not spread evenly, must be broken in by handling them for several minutes, shuffling, cutting and dealing them. But stop before your perspiration penetrates the edges of the cards. Here is a simple, quick and cheap remedy for rough edges, told to me by card expert Dave Solomon of Chicago. Take a piece of relatively rough cardboard, larger than the deck. Grip the deck firmly and rub its ends and sides quickly back and forth a few times on the cardboard while pressing hard. You can also bevel the sides slightly and repeat the rubbing, doing so as you bevel the deck first one way and then the other. The cardboard acts like a very fine sandpaper and quickly smooths the edges, making them amenable to faro shuffles and other expert handling.
What other advice do you have for selecting a deck to use for card magic?
Once you have found the cards that work best for you, stick with them until you have a compelling reason to switch. Work exclusively with these cards.
Whether performing for a large or small audience, always use a new deck or one in new condition. New cards guarantee optimal execution of techniques and identify you as a polished artist, one who pays attention to detail; so don't try to skimp on this. Never forget that the deck of cards is your instrument.
What should we consider in terms of our hands when handling playing cards?
German philosopher Karl Jaspers once remarked, "The hand is the extension of the mind", and Andreas Tenzer maintained, "The hand is the extended arm of the heart." To this I would add that the instrument, in our case a deck of cards, is the extension of the hand. To stay with this analogy: mind, heart and hand are the “artistic trinity”, which through the use of an instrument can create amazing experiences for a small or large group of people, if led by a skilled and inspired individual.
Together with the cards as your instrument, your hands are the most important tools that actually determine the success of the magic you are going to perform. And any work of art is generally only as good as the tools employed to create it. In any case, you can only expect the best results if you care for them properly. The coordination between your thoughts and the movement of your hands is also extremely important.
How important is size of your hands and your skin type?
People with all types of skin can, of course, perform magic. But there are certain techniques that are easier for those having somewhat drier skin, whereas others are facilitated by a somewhat moister skin. The specific anatomy of your hands will make some techniques easier for you, while others will test your patience. Obviously, huge hands and long fingers better cover most sleight-of-hand. But such an attribute can also have its disadvantages.
Once you know your hand and skin type, you will take note of this relationship and patiently spend more time on some techniques than on others; and you will naturally be happy when some techniques prove easy for you. From my own experience and the result of polling many experts throughout the world, I can assure you that you can learn every technique, independent of the kind of hand and skin you have, providing you motivate yourself to devote sufficient practice to it, which - as stated earlier - can vary from hand to hand. In the worst case you can console yourself with the knowledge that every technique may be replaced by another technique, or a principle, or a subtlety or ruse.
The anatomy of your hand will change very little during your lifetime - unless you are reading this as a child. However, several factors, such as age, environment, climate and stress, are responsible for a change in skin types. From birth to my mid-twenties, I had very moist hands. Around age twenty-six, my skin got drier. This can also be measured in terms of one's use of decks: I used to need three to four decks each week. Now I need only that many a month.
Do you have any advice about hand care?
Your hands will be on constant display during performance. Can you risk having them not look their best? Pay attention to your hands, for they represent your greatest investment in the art of performing magic with cards. Well-groomed hands will give you the same feeling of well being as wearing a freshly laundered and pressed shirt.
Your hands will quickly become soiled as you practice. The dust all around us will stick to the sweat and oils of your hand to make them dirty. Soiled hands in turn shorten the lifetime of your deck, even with plastic coated cards, which otherwise last a long time. Before practicing and, of course, before every performance, wash your hands with a mild soap. I personally use an alkali-free pH7 liquid soap. Such neutral soap removes dirt without harming the natural oils of the hands. This keeps the hands from drying out after washing, and leaves you with practically the same feeling in your fingers after washing as before, so that your practice session can continue unimpeded. Try different soaps and, when you find the one that is best for you, stick with it. If you have very moist hands, you can find dehydrating creams in drug-stores that will keep your hands dry. This can be a great help during practice and performance. I used them for years when I was young and had naturally moist hands.
If you have normal or somewhat dry hands, I recommend that you apply a cream after each washing. Use a formula that is quickly absorbed and non-greasy - your cards will thank you. You can skip the cream after the practice-session washings. Office supply stores sell so-called fingertip moisteners used for instance by bank tellers to count paper money. "Sortkwik" is one such product, which is common in the USA, but you can find similar products in every country. Dai Vernon and other experts used a hand lotion called "Chamberlain's Golden Touch Lotion"; it is still available and you can find it over the internet. Both these products are applied just before performing, and with a little ingenuity you can make their use even part of your presentation.
The appropriate length of your fingernails is partly a matter of taste, but short nails facilitate the execution of most techniques and generally look better. Nail biting is absolutely taboo; break the habit, even if it means visiting a therapist. Pay just as much attention to your cuticles. My advice: Go at least once to a professional manicurist, paying close attention to the procedure and getting professional advice on the proper care of your nails. Then buy a good pair of nail shears, a cuticle remover and a good cream, compatible with your skin type.
Does it really matter how you do basic things like dealing or spreading cards?
Dealing cards would seem to be so elementary a topic, you may wonder why it is necessary to discuss it at all. But once again there is a right way and a wrong way to do things. Initially, either would serve the purpose equally well, but for advanced techniques precise positions of the fingers are critical.
The same is true with spreading cards. This technique will be used often with the cards either face up or face down. Once again we are analyzing a procedure with which you may feel you are already completely familiar, for who has not spread the deck between the hands when picking out cards? But pay attention to the positions of the fingers and the manner in which cards are pushed from hand to hand. This technique is the foundation on which sleight of hand will also be built.
I already know how to shuffle a deck. Do I really need to re-learn how to do this?
There are different ways to shuffle a deck of cards, including in the hands, or on the table, and in the air. Even though you may think you already know how to do these moves, and indeed have probably been shuffling cards for a long time, you should learn methods to professionally do it. These methods are elegant because they are efficient and economical. However, they also use precise fingering, which will become important when you want to learn more advanced sleights based on these grips, such as jog- and break-shuffles.
It is important that you learn to do these moves properly, even if this means unlearning some handling habits. At the beginning some of the new "ways" will feel strange, but within a few days you will feel at ease with them and recognize how well they allow you to control the cards; control is what shuffling is about. Piano virtuoso Arthur Rubinstein in his autobiography states: "Virtuosity is when the artist controls his instrument, and not vice-versa."
How important is the overhand shuffle, and its technique?
Overhand shuffling is a basic tool of card conjuring. More likely than not, most of you will already have mastered a version of the overhand shuffle. But even if you have been performing the overhand shuffle since you first learned to play cards, you will soon recognize that the proper method employs a technique that feels somewhat different. The grip will probably seem a bit unconventional, and you may wonder why this retraining is necessary, since your present overhand shuffle technique is more than adequate to mix the cards.
However, as soon as we get to the first actual techniques using the overhand shuffle, such as control of top and bottom stocks or the control of selected cards, you will realize that the "family style shuffle" is totally inadequate for a precise and secure execution of such sleights. The basic method I teach is a prerequisite for successful execution of all subsequent overhand shuffle techniques. Of particular importance are the positions of the forefinger and the little finger of the left hand, as well as the way the cards are shuffled off. With a little patience and perseverance the proper technique will open a door to a big room you probably didn’t know even existed; it is the room to artistic and expert card handling. Please believe me if I say that it is worth mastering.
How important is the riffle shuffle, and its technique?
The riffle shuffle is the shuffle preferred at gambling tables. This is primarily because it was once thought that the riffle shuffle made cheating more difficult. Today there is more literature devoted to various riffle shuffle techniques than to any other shuffle. Anything you can do with an overhand shuffle can be done with a riffle shuffle, and much more besides.
Although most card players know and use the riffle shuffle today, many people still find it fascinating when it is neatly performed, perhaps partly because of its association with gambling and its lore. You should therefore include in your performances tricks using the riffle shuffle, and become familiar with the basic riffle shuffle techniques. Don’t neglect to master these basics from the outset, as they will be the foundation for more advanced techniques you will encounter later.
Also learn how to square after shuffling. The method first recommended in print in 1902 by the mysterious card sharp S. W. Erdnase is a particularly efficient and elegant method of doing so. The Waterfall Riffle Shuffle is also a technique to learn, and is not only impressive to spectators, but is also very useful when no table is available.
Should magicians perform card flourishes?
Flourishes are essentially overt techniques in the service of showmanship. The "card tricks" of stage manipulators often consist largely of flourishes, such as one- and two-handed fans, springing and cascading the cards, tossing a ribbon of cards into the air and catching it again, throwing and catching individual cards like boomerangs. There are also flourish effects, such as the bare-handed production of single cards or even fans of cards, the diminishing and expanding of cards, etc. Flourishes showcase the performer’s skill, whether at the table or on the stage. The goal is not to mystify by performing something inexplicable, but to handle the cards in an unusual, yet aesthetically pleasing manner. They also create psychological and dramatic accents in the course of a routine.
Many competent performers have expressed their opinions on the use of flourishes, resulting in three basic schools of thought on the subject:

1. At one extreme are those who maintain that the performer should handle the cards clumsily, so that the subsequent trick appears as miraculous as possible. With no apparent skill involved, it can only have been accomplished by magic.
   
2. At the other extreme are those who believe this is nonsense and that the performer should appear as skillful as possible, dazzling the spectators with displays of manipulative bravura.
   
3. Between these two extremes lies a third school, which follows the philosophy of naturalness championed by Dai Vernon, universally and respectfully known as the "Professor". This school teaches that the cards should be handled so as not to arouse suspicion. Above all, they should be handled neatly and nonchalantly, with the ease and casualness that defines the true master. Doesn't one expect a violin virtuoso to hold the violin securely and guide the bow precisely, with complete ease and confidence?
   

A discretely introduced flourish, such as the dribbling of the cards after the return of a selection to the deck, helps to underscore the fairness of the procedure. An unusual way of turning a face-down card face up to reveal the chosen card can strengthen the effect. Using an elegantly made fan to display the cards as all different imbues the handling with an aesthetic quality. Even relatively easy flourishes such as a ribbon spread and turnover on the table give the impression of above-average dexterity and - properly applied - can make an effect considerably more memorable and impressive for an audience. Introduce them into your performances with care and intelligence, and they will contribute disproportionately to your success.
What simple card flourishes should beginners learn?
● Dribbling cards is a technique that has numerous uses. Among them are: as a flourish, as a method for having a card chosen and replaced, as a demonstration of the performer’s lack of control over the cards, as a way to prepare for a palm, by affording a reason to briefly hold the deck with two hands, and much more.
● The Ribbon Spread is a flourish, but also a utility move that serves many purposes, such as having cards selected and replaced, showing that all cards are different and mixed, glimpsing a card at a certain position, and a large etcetera. You will be astonished at the incredibly strong impact this gesture with the cards has on laymen. Somehow the technique appears much more difficult than it is. Knowing it has such an impact, use it sparingly, acknowledging that you are accomplishing something extraordinary.
● The Riffle is a little flourish that should be used sparingly and deliberately. I emphasize this here because the riffle can become a nervous tic, subconsciously repeated without realizing that it annoys the spectators. In such circumstances it communicates an impression of clumsiness. Yet, if introduced judiciously, it can underscore dramatic moments, providing an artistic highlight.
●The Swivel Cut is the creation of the American vaudeville legend, Nate Leipzig. It is a two-handed flourish that has many possible applications to trick techniques.
● The Charlier Cut can be used as a one-handed pass - that is, a secret cut not intended to be seen by the spectators - but can also be used as a visible flourish, and even as a gag. It is the invention of the nineteenth century enigma, Charlier.
● Different methods of turning over the top card are suited for turning over a previously selected card at the climax of a trick, or simply to show the spectators a card that will be used subsequently.
In closing, how would you describe the importance of playing cards for card magic?
Without doubt, playing cards are the most fascinating instrument employed in the art of magic. No less a performer than Hofzinser designated card conjuring the "poetry" of magic. Cards have produced a palette of sciences, from their symbolism of humanity to their numerical properties and all the mathematical possibilities embodied therein. They serve at play and strategy, for fortune-telling and occult practices, and as a vehicle for social communication. They permit an expression of skill and intelligence.
Everything is brought together in card conjuring, for there is no effect, no emotion, that can’t be expressed with a deck of cards. They are a microcosm reflecting the "human condition", to use Rousseau’s expression, mirroring the fate and reality of mankind. Card tricks unite the principles of nature (natural material), of art (creativity, interpretations, self expression, talent), of science (psychological and mathematical principles) and of spirituality (symbolism, personal growth, therapy).
CLOSING THOUGHTS
If you are interested in learning more about expert card handling techniques, you can't go wrong by checking out some of Giobbi's books or videos. I wish that when I began my journey with playing cards by learning the fundamentals of proper card handling. You'll get far more enjoyment out of your card flourishing and progress more quickly by first learning the proper and basic techniques of card handling.
So where can you start? I'd suggest two resources, both of which Mr Giobbi has made available for free or a nominal cost, as part of his love for the art of magic, and his genuine desire to help new card handlers get off on the right foot:
● Video: Fundamental Techniques - Giobbi has an entire course that teaches the fundamentals of card magic, corresponding to the first two books of Card College. He's made the first lesson free, and it covers the following topics: Basic Grips, Squaring, Various Cuts, Spreading & Outjogging Cards, Dribbling, Various Deals, Various Break Handlings, Step, Ribbon Spread, Preparing the Card Case. It's more than half an hour long, and has excellent content.
● E-Book: Introduction to Card Magic- This e-book was created in 2012 (and recently updated in 2019) as an introductory course for newcomers, and features 150 pages of extensive instruction about the basics. It is in PDF format, and is dedicated to teaching general card handling techniques, e.g. the correct way to hold and shuffle playing cards, and much more. It also includes half a dozen solid card tricks that are basically self-working. It's well-illustrated with accompanying photographs and examples, and contains links to youtube videos illustrating the move or shuffle that you're learning. To help budding card handlers, Giobbi has made this available for just €6.95 via his website.
Where to learn more?

• Complete interview: Q&A with Magician & Card Handling Expert Roberto Giobbi
• Starting resources: Fundamental Techniques (free video), Introduction to Card Magic (€6.95 e-book)

With the remaster of Burnout Paradise release soon and worked on by Criterion and Stellar Entertainment (see Paul Ross for details on that company) I thought it might be fun to make a thread and track down the devs. If you want some additional reading about Burnout, Three Fields released a history about how it started in January.
For a quick summary, Criterion was originally a 3d graphics rendering technology company owned by Canon. It was spun out and became the “modern” Criterion Games in 1999/2000. In 2004 it was purchased by EA.
Most info/quotes are from company websites and LinkedIn. Now, this thread is long enough already, so let’s get started (this thread is long enough that I’ll have to go into the comments to finish the thread.
Fiona Sperry worked as EA Criterion Studio GM. Sperry helped form the modern Criterion Games and previously worked at McGraw-Hill. In 2014 she left and co-founded Three Fields Entertainment.
Alex Ward worked as creative director. Ward helped form the modern Criterion Games and previously worked at Acclaim. He continued to work at Criterion until 2014 (including a unreleased game codenamed “Adventure”) when he co-founded Three Fields Entertainment.
Peter Hawley worked as executive producer. Hawley previously worked at companies including Lionhead (where he was one of the first employees) and Sony. He joined Criterion in late 2005 and in 2009 became vice president of product development at EA. In 2010 he joined Crowdstar before co-founding Red Robot Labs in 2011, where he worked at CPO and later CEO until 2014. He next joined Zynga before coming CEO of Telltale Games in September 2017.
Craig Sullivan worked as lead designer. Sullivan joined Criterion in 1997 and was the first game designer for the studio. He previously worked at Millenium Interactive as a designetester. In 2009 he became creative director at the company before joining Ghost Games in 2013. Sullivan left Ghost Games at the end of 2016, and in May 2017 joined Amazon.
Jon Lawrence worked as senior development director. Lawrence joined EA in 1998 and worked on series including Harry Potter, F1 and Black. In 2012 Lawrence left to work at Sky before returning to EA shortly in 2013. Later that year Lawrence joined Microsoft as development director, and worked on Warface. In 2015 he joined Natural Motion before joining Digit Game Studios in 2017 as director of production.
Steve Uphill worked as art director. Uphill previously worked at Kuju Entertainment before joining Criterion in 2002. In 2008 Uphill left Criterion and joined Black Rock Studio to work as art director on Split/Second. In 2011 he co-founded ShortRound Games where he worked as art director. In 2016 Uphill returned to Criterion and is currently studio art director.
Stephen Root worked as audio director. Root worked at Acclaim for five years as head of audio before joining Criterion in 2000. In 2008 Root left Criterion and joined Codemasters, where he is currently VP of development creative services.
Olly Read worked as a technical director. Read joined Criterion in 1999 and worked at the company until 2011. In 2012 Read started work as a “game programming ninja” at Escapist Games.
Paul Ross worked as a technical director. Ross joined Criterion in 1996 and worked as CTO before leaving in 2014. He next worked at Three Fields Entertainment before leaving in 2016. Ross next founded Stellar Entertainment in 2016, which is making Burnout Paradise Remastered.
Pete Lake worked as a producer. Lake worked as an artist for early Criterion games before starting production on Paradise. In 2010 Lake worked as a producer for Harry Potter and The Sims. In 2013 he returned to Criterion.
San Shepherd worked as a producer. Shepherd previously worked at EA and Pyro Studios before rejoining EA in 2006. Near the end of 2008 Shepherd left and in 2009 joined Zero Point Software as a board member. At the same time, Shepherd co-founded Escapist Games and became director for European Construction Company. Since 1990 Shepherd has also been director of Citilet Booking, and in 1997 founded The Copenhagen Post, where he worked as CEO for five years. He also produced weekly music shows for Danish TV in the 90s.
Matt Webster worked as a producer. Webster joined EA in 1990 and worked on games including Syndicate, Theme Park and Populous II. He also created the initial concept for the first Fifa game and associate produced the game. After EA purchased Criterion Webster joined the company as producer. In 2013 he became GM of Criterion.
Hamish Young worked as a producer. Young joined Criterion in 1999 and had worked as a technical director and a lead programmer on previous Burnout games. Young continued to work at Criterion until 2013, when he joined Avalanche Studios (for quick reference this is the Just Cause studio, not the Disney Infinity one) where he works as a designer.
Steve Cuss worked as a development manager. Cuss worked at IBM and Intelligent Games before joining EA in 2003. Since 2005 Cuss has worked as a producer for Criterion.
Helen King worked as a development manager. King joined Criterion in 2006 but left in 2009 and joined Codemasters, where they worked on Bodycount. After leaving in 2011 King joined Deepmind in 2012, which was later bought by Google.
Radek Majder worked as a development manager. Majder previously worked at companies like Plastic Wax, Forte Studios and Perception before joining EA in 2006. Majder worked as development director at EA until 2013. In 2014 they joined BBC where they worked until 2017. They are currently head of development management at Mclaren Applied Technology.
Alan McDairmant worked as a development manager. McDairmant previously worked at Inner Workings, Data Design & Artwork, Red Lemon Studios and Visual Science before joining Criterion in 2005. McDairmant continues to work at EA/Criterion and most recently has worked as a director of product development/studio leadership on games such as Battlefront 2, Battlefield 1 and Need for Speed.
Dan McDonald worked as a development manager. McDonald previously worked in QA on series like Burnout, Harry Potter and Populous. McDonald did interviews for Burnout Crash and seemingly left Criterion afterwards. He was credited as a production manager for Until Dawn in 2015.
Sheri Patterson worked as a development manager. Patterson previously worked at Pixar (on the Incredibles, Finding Nemo and Boundin’), Blue Sky and Charlex before joining Criterion in 2006. In 2008 she left and worked as a producer for various companies including DreamWorks and Disney (on Frozen). Patterson also worked with companies including Apple, Google and Land Rover.
Cath Schell worked as production coordinator. Schell first appeared in Criterion credits in 2002, and is still with the company. She posts a lot of mushrooms.
Charnjit Bansi worked as a designer. Bansi previously worked at Codemasters before joining Criterion in 2005. In 2009 Bansi joined Bizarre Creations as a/the game director (Activision doesn’t tend to give detailed credits so I can’t tell if Bansi was the only person with the role). After consulting for a month in 2011 at Neversoft Bansi joined Sledgehammer Games as a/the development director.
Richard Bunn worked as a designer. Bunn previously worked in QA at Sony and as a level designer at Argonaut before joining Criterion in 2004. Bunn worked on the design of the “open-world traffic system, vehicle A.I. behaviours and the Crash Mode gameplay,” for the game. After leaving Criterion in 2007 Bunn rejoined Sony where he worked for three years on the original version of Until Dawn and the canceled Eight Days. After leaving in 2011, Bunn has worked at Mindshapes, Nice Touch and most recently Aceviral.
Matt Follett worked as a designer. Follett joined EA in 1999 working in QA and design. He joined Criterion in 2008 after working on previous Burnout games, and worked on algorithms and scripting for Paradise along with the PC version. Follett later became a lead at Criterion before leaving in 2014. Since then he has worked for Boss Alien.
Paul Glancey worked as a designer. Glancey previously worked as an editor for games magazines in the late 80s/early 90s before joining Eidos in 1998. He joined EA in 2000 before leaving in 2008. He next worked as design director on Split/Second before joining Ubisoft in 2010. In 2012 Glancey returned to Criterion.
Tommy Hudson worked as a designer. Hudson joined Criterion in 2005 and worked at the company until the end of 2010. Hudson next joined DICE where they worked on Battlefield. In 2013 Hudson joined Remedy and worked on Quantum Break. They are currently lead designer on a new game at Remedy.
Oliver Reid-Smith worked as a designer. Reid-Smith joined Criterion in 2004 before leaving in 2010. They worked as a lead designer on Split/Second before becoming a freelance consultant in 2012. Reid-Smith has worked on games including The Room, Disney Infinity and Blackwood Crossing.
Steve Watt worked as a designer. Watt joined EA in 2004 and worked as lead online designer. In 2008 Watt left and joined Codemasters where they worked as lead designer. After the closure of the Guildford studio in 2011, Watt did some freelance in 2012. Later that year, Watt joined Microsoft.
Ben Earnshaw worked as a level designer. Earnshaw worked on AI and planned race routes for the game, before leaving at the end of 2007. He next joined Dark Energy Digital as a designer on Hydrophobia. In 2010 Earnshaw left the gaming industry and joined his family’s woodworking company.
Mata Haggis worked as a level designer. Haggis previously worked at Channel 4 and MTV before joining Criterion for 2007. Haggis worked on building the world and make it seem believable. In 2008 he joined Rebellion where he worked as a designer on Alien vs Predator and PDC World Championship Darts Pro Tour. After leaving Rebellion in 2010 Haggis lectured at NHTV for five years before becoming a professor. From 2013 to 2016 he worked with Sassybot freelance, and since 2000 has worked as a game designer with Matazone.
Dave Sage worked as a level designer. Sage joined Criterion in 2007 after short work lecturing. In 2008 Sage left and joined Codemasters, where he worked until 2011. Since then Sage has worked for various groups teaching, and currently is general manager of a cafe/bicycling company.
Jason RM Smith worked as associate CG supervisor. Smith joined EA in 1998 and worked at Bullfrog and EA UK before joining Criterion. At the end of 2007 Smith left and joined Lucasarts where he worked on The Force Unleashed, 1313 and other games. When Lucasarts closed Smith co-founded Soma Play where he worked until 2017. He currently is a creative consultant.
Richard Franke worked as a lead artist. Franke worked as an artist for Scavenger and Mucky Foot before joining EA in 2002. At the end of year Franke joined Criterion, where he worked until 2012. After leaving Franke founded Magic Notion where he has made games and worked as a contract artist for Media Molecule.
Mark Hamilton worked as a lead artist. In 2008 Hamilton left Criterion and co-founded Fireproof Games.
John Lewis worked as a lead artist. Lewis worked as an artist at ICE, DA Group and Bits Studios before joining Criterion in 2005. In 2012 Lewis left and joined Codemasters. Lewis is currently art director at the studio.
James Lipscomb worked as a lead artist. Lipscomb worked at Line One, Red Hot Chilli and Orange Crush before joining EA in 2002. In 2009 Lipscomb left and joined Disney where he worked on Split/Second. At the end of 2011 Lipscomb joined Lucasarts where he worked until the company’s closure. After that he worked at Rumble, Gaia Interactive and Linekong working in UI and UX. He is currently director of UX at pocket gems.
Neil Manners worked as a lead artist. Manners seems to have joined Criterion in the mid-90s. He seems to still be at EA, last working as a senior animator on Need for Speed Payback.
Barry Meade worked as a lead artist. Meade joined the studio in 2003 after working at PCSL, Bullfrog, Scavenger, Negative Productions, Mucky Foot and Iguana. Meade worked mostly on the lighting for Paradise. In 2008 Meade left Criterion and helped found Fireproof Games, where he currently works.
Yuta Nakamura worked as a lead artist. Nakamura worked for Video Systems before joining EA in 2001. Nakamura went on to work as a art director on Need for Speed games before joining DICE in 2016.
David Rack worked as a lead artist. Rack joined Criterion in 2003 and worked at Criterion until 2008. After leaving Rack co-founded Fireproof Games, where he is currently a lead artist.
Damien Rayfield worked as a lead artist. Rayfield worked at Rebellion before joining Criterion in 2004. In 2008 Rayfield left and co-founded Fireproof Games.
Roger Schembri worked as a lead artist. Schembri worked as a graphic designer before joining Criterion in 2004. Schembri worked on UI before leaving in 2008 to work as a lead UI artist at Codemasters. At the end of 2010 Schembri left and joined Fireproof Games.
Chris Cannon worked as an artist. Cannon joined Criterion in 2005 after animating and storyboarding for various companies. In 2008 Cannon left and co-founded Fireproof Games, where he is a lead designer.
Max Cant worked as an artist. Cant joined Criterion in 2005 and worked as an environmental lead. In 2008 Cant left and joined Codemasters as an art director. After leaving Codemasters in 2011, Cant worked for six months at both Koyoki and Vatra Games. At the end of 2012 Cant joined Deepmind, which was later bought by Google.
Tony Cartwright worked as an artist. Cartwright “worked for a several game companies, some that he would prefer not to mention, working on titles that he’d also prefer not to mention.” (mostly movie tie-ins) before joining Criterion. In 2008 Cartwright left and co-founded Fireproof Games, where he is currently a lead artist.
Ingmar Clarysse worked as an artist. Clarysse worked at Larian and Argonaut before joining EA in 2004 as a VFX artist. In 2008 Clarysse left and joined Rocksteady Games, where he works as lead on VFX on the Arkham series.
Will Evans worked as an artist. Evans worked at Teletext before joining Criterion in 2005. In 2009 Evans joined Codemasters before joining Supermassive Games in 2010. After leaving in 2014 and working for 9 months at Rodeo Games, Evans co-founded Playsport Games in 2015.
Dave Flynn worked as an artist. Flynn joined the games industry in 1991 working at Storm Education Software. Flynn also worked at Oregan Software, The Automotive Association and Interactive Studios/Blitz Games (including work on Glover) as well as co-founding Paradise Games. In 2003 Flynn joined Criterion before leaving in 2008 and joining Slightly Mad Studios.
Nicole Gabriel worked as an artist. Gabriel worked as a 3D modeler for various architecture groups before joining EA in 2005. Gabriel worked on the art for Paradise City before leaving in 2009 to work as a freelance artist.
Derek Germain worked as an artist. Germain worked at Bits Studio before joining EA in 2005 as an environmental artist. In 2009 Germain left before joining Slightly Mad Studios as a snr artist. In 2011 Germain left and joined FIreproof Games, where he is a senior artist.
Jack Griffin worked as an artist. Griffin joined Criterion in 2005 before moving into management in 2012. Griffin is currently development direction at the company.
Ben Hall worked as an artist. Hall joined Criterion in 2005. On Paradise he worked on vehicles and later the environment. Hall moved into world design for later Criterion games before becoming lead. In 2013 Hall moved to Ghost Games for five months before working on Battlefield Hardline as an artist for seven months. In 2014 Hall joined Ubisoft where he worked as a level designer on Assassin’s Creed Syndicate. He is currently working as world director on an unannounced game from Ubisoft Quebec.
James Hans worked as an artist. Hans ran Infinite Detail before joining Criterion in 2001. In 2011 Hans became a producer at Criterion before leaving in 2014. Since leaving, Hans has worked as an artist/producer at Natural Motion.
Scott Harber worked as an artist. Harber joined Criterion in 2003 and worked as a technical artist on Paradise. In 2013 Harber worked for a year as technical art director on an unannounced EA game before working on Battlefield Hardline. In 2014 Harber left and started Sc0tt Games which he ran for a year before joining Natural Motion as lead technical artist.
Young Jin Park worked as an artist. I’m unable to find additional information about what Park did (they are credited on Black and Burnout Dominator, but their Mobygames page is mixed with another person with the same name).
Jin Jung worked as an artist. They were last credited with Hot Pursuit, but I’m unable to find any additional information.
Quyen Lam worked as an artist. Lam worked shortly at La Paraguas and Axis Animation before joining Criterion in 2005. In 2008 Lam left and joined Ubisoft, where he worked on Driver: San Francisco. After a short three months at Slightly Mad, Lam joined Rockstar as an environmental artist in 2010.
Kwok Law worked as an artist. Law previously worked on films and television like Harry Potter before joining Criterion in 2005 as a level artist. In 2008 Law left and joined Doublesix Games, where he was a seniolead artist. In 2012 Law left and joined Born Ready before joining Digicub nine months later. In 2013 he co-founded Polynation Games until 2016, when he founded Massive Kwok.
Steve Leney worked as an artist. Leney worked at Mindscape for most of the 90s before joining EA in 1998. In 2008 Leney left and joined Relentless Software, where he worked until 2016. Since leaving Leney has worked as an artist at Make Real.
Mikael Mettania worked as an artist. Mettania worked at Atari and Eutechnyx before joining Criterion in 2005. He worked as a senior vehicle artist on Paradise and a world artist on the DLC. In 2013 Mettania moved over to Ghost Games for seven months before joining Natural Motion as art director in 2014.
Lyndon Munt worked as an artist. In college, Munt worked on Driv3r before joining Criterion in 2004. In 2010 Munt left and joined Fireproof Games, where he is currently a senior artist.
Ben Murch worked as an artist. Murch previously worked at Rebellion before joining Criterion in 2005. In 2007 Murch left and joined Codemasters as a senior artist. In 2010 Murch co-founded Rodeo Games. In 2016 he co-founded Perchang.
Adriaan Pottas worked as an artist. Pottas previously worked at Three Blind Mice and Indestructible Productions before joining EA in 2005. In 2009 Pottas left and worked for a year at Ignition London as a senior artist. Since 2010 Pottas has lectured at Southampton Solent University.
Richard Thomassen worked as an artist. Thomassen worked at Psygnosis for a year before joining Criterion in 1998. In 2013 Thomassen moved to Ghost Games before returning to Criterion the following year.
Marcus Wainwright worked as an artist. Wainwright worked for a year at Rebellion and joined Criterion in 2005. At the end of 2008 Wainwright left and soon joined Codemasters, where he worked until the start of 2012. After a year at Climax Wainwright joined Deepmind in 2013, and is currently a senior technical artist.
Chris Walley worked as an artist. Walley previously worked at Revolution Software before joining Criterion in 2001. On Paradise Walley was lead previs artist. In 2008 Walley left and became director at Escapist Games.
Sam White worked as an artist. White joined EA in 2005 and worked as a graphic designer and GUI artist. In 2009 White left and joined Supermassive Games as an interface artist. In 2015 White left and became director at Playsport Games.
Iain Angus worked as a lead programmer. Angus was an intern at APR Smartlogik before joining Criterion in 2002. In 2011 Angus left and joined VLI before joining Konami in 2013. In 2015 he joined Lionhead until its closure in 2016. He currently works as a development manager at Creative Assembly.
Chris Cummings worked as a lead programmer. Cummings previously worked at Eutechnyx before joining Criterion in 2004. In 2009 he left and joined joined Media Molecule. In 2015 Cummings spent a year at Hello Games working as a programmer on No Man’s Sky before joining Happy Robot Games and Future Tech Labs in 2016.
Alex Fry worked as a lead programmer. Fry joined Criterion after college and worked on rendering. Sometime in the last few years Fry moved over to EA Guildford and currently works on rendering for Frostbite. If you want to learn more, Fry did an interview with EA
Andy Hubbard worked as a lead programmer. Hubbard joined Criterion in 2004 working on physics. In 2008 Hubbard joined Black Rock Studios to work on Split/Second before becoming director of ShortRound in 2011.
Mark Huntley worked as a lead programmer. Huntley worked at Bullfrog from 1993 to 2000 before joining EA. After some Harry Potter games Huntley worked on Paradise. At the end of 2010 he left EA and in 2011 joined Codemasters as a lead programmetechnical director on for online. In 2013 he moved to Lionhead where he worked until the company’s closure. Since then he has worked as a technical program manager at Highlight - See Clearly.
Steve Lucas worked as a lead programmer. Lucas worked at IBM for around a year before joining Criterion in 1998. In 2013 Lucas moved to Canada and became a technical director at EA.
Toby Nelson worked as a lead programmer. I’m unable to find out much info about Nelson. Their first game as part of Criterion was AirBlade and they directed Burnout Crash.
Tad Swift worked as a lead programmer. Swift worked for about a decade in programming/consultation before studying games programming in 2003 and 2004. Swift joined Criterion in 2005 as a junior programmer before becoming lead VFX programmer for Black and Paradise. Swift next went into core engine technologies before leaving in 2013 to join Lionhead. Swift worked as a lead programmer for Fable Legends before joining the Microsoft Advanced Technology Group as a senior software engineer.
Rajan Tande worked as a lead programmer. Tande joined EA in 1996 and in 1999 became a lead programmer. After two years as technical director for Harry Potter, Tande joined the Burnout team in 2006. After Paradise, Tande moved over to EA Bright Light where he worked until its closure in late 2011. He next moved to Maxis Emeryville in California where he worked until its closure in 2015. Since then, he has been CTO at Magic Fuel Games.
John Twigg worked as a lead programmer. Twigg previously worked at EA Black Box before joining Criterion in 2006. Twigg led the design of the audio software for Paradise before leaving in 2008 to joining BNP Paribas. In 2010 he co-founded Crankcase Audio and has worked for a year or so at companies including United Front Games, Snowball (which he co-founded) and Credit Karma.
David Addis worked as a programmer. Addis worked at Codemasters for a year before joining EA in 2005. On Paradise Addis worked on the HUD and refactoring the system. In 2008 he left and joined Lionhead where he worked until 2012. Since 2013 he has worked as lead UI programmer at Natural Motion. Since 2010 he has also run ESP Games.
Mark Baker worked as a programmer. Baker worked at Sony, Metrowerks, Mucky Foot and Climax before joining Criterion in 2005. Baker worked on tools and workflow for Paradise before leaving in 2008 and joining NCSoft for five months. Later in 2008 he joined Black Rock Studio and worked as a lead programmer on Split/Second. In 2011 Baker joined Mind Candy before returning to EA in 2015 as a technical director for development release engineering.
Peter Bliss worked as a programmer. I’m unable to find much information about Bliss but they seem to still be at Criterion.
Garry Casey worked as a programmer. Casey joined Criterion in 2006. At some point Casey moved over to Ghost Games and last worked as online lead on Need for Speed Payback.
Rob Cowsill worked as a programmer. I’m unable to find much information about Cowsill but it seems like they joined Rebellion in 2009 any maybe currently works at Force Field.
Ken Cropper worked as a programmer. Cropper is still at Criterion, and is currently director of engineering.
Antony Crowther worked as a programmer. Crowther joined the games industry in 1983 and worked at Aligata Software, Mirror Soft, Mindscape, Gremlin Interactive, Infogrames and Genepool before joining EA in 2004. In 2006 Crowther moved to Criterion for a year before returning to EA. Since 2011 Crowther has worked as a technical consultant at Sumo Digital.
Graham Daniell worked as a programmer. I was unable to find much information about Daniell but they seem to be at Rocksteady.
Robert Dodd worked as a programmer. Dodd previously worked at Codemasters before joining Criterion in 2005. In 2008 Dodd joined Supermassive before becoming technical director at Fireproof Games in 2011.
Jon Evripiotis worked as a programmer. Evripiotis worked at Travellers Tales before joining Criterion in 2005. In 2008 he joined Bloomberg as a software engineer.
Martiño Figueroa worked as a programmer. Figueroa joined Criterion in 2005 and worked as an AI and gameplay programmer for Paradise. In 2011 Figueroa left and worked at The Foundry for 10 months before co-founding and becoming director of JFDP Labs in 2012. Since 2015 Figueroa has been director of Madruga Works which released Planetbase.
Rich Geldard worked as a programmer. Geldard joined Criterion in in 2005 and is still with the company as technical director.
Joseph Goodwin worked as a programmer. Goodwin joined Criterion in 2006 and worked on tools, UI and localization for Paradise. Goodwin is still at Criterion as a software engineer.
André Jacobs worked as a programmer. Jacobs previously worked at Fifth Dimensional Technologies, Adreniware, I-Imagine and Climax before joining Criterion in 2006. Jacobs worked on the traffic system for Paradise which was later used in Criterion Need for Speed games. In 2008 he joined Lionhead before joining Bloomberg in 2010. In 2012 Jacobs became lead programmer at Medopad before leaving in 2015 and working a year at ICSA. Since 2010 he has also run Voxel Beast.
Matthew Jones worked as a programmer. Jones previously worked at Terabyte and Infogrames/Atari before joining Criterion in 2006. In 2013 Jones left Criterion and worked JFDP Labs on contract while being self employed. In 2015 he joined Microsoft as a senior software engineer in rendering.
Ian Lambert worked as a programmer. Lambert is still part of Criterion and works on UI and UX.
Ling Lo worked as a programmer. Lo worked out Logica, Coment, Argonaut and Symbian before joining EA in 2005. Lo worked on tools and build for Paradise before moving to Vancouver in 2008 to work with EA Black Box. In 2012 Lo moved to Burnaby and has worked as lead online engineer for the Garden Warfare series.
Phil Maguire worked as a programmer. Maguire joined Criterion in 2005 and worked on Freeburn Challenges, Mugshots and Road Rules for Paradise. After working on autolog and multiplayer for Need for Speed games Maguire because technical director of Criterion in 2013. In 2014 he left and help found Three Fields Entertainment.
Alex Mole worked as a programmer. Mole joined Criterion in 2005 and was lead online programmer for autolog. Mole is currently technical director of Criterion. In 2016 Mole gave a talk at GDC.
Robert Perren worked as a programmer. Perren joined Criterion in 2005 before becoming lead tools and workflow programmer in 2012 at Criterion/Ghost Games. In 2014 he left EA and became technical manager at Falmouth University.
Davide Pirola worked as a programmer. Pirola previously worked at companies including Psygnosis, Steel Monkeys and Kuju Entertainment before joining Criterion in 2005. As part of Criterion, Pirola was the self-described “lowest ranked programmer ever.” Here is Pirola’s description of working at Criterion unedited: “My main duty was playing foosball at their mega bar and basically trying to do as little as possible! I mostly succeeded for almost 5 years, my contribution to their games was very minimal, in fact the worst part of every game they made was probably my code, specially crafted in such a way that was a mess to understand and run, credits go where credits due people… I once tried to write some proper code, I remember, it was a Thursday morning, but then I've changed my mind.” Pirola left in 2010 and is currently “Le Grande Fromage” at JFDP labs.
Gavin Rouse worked as a programmer. Rouse joined Criterion in 2002 and seems to now be at Ghost Games as a senior software engineer.
Andrei Shires worked as a programmer. Shires is still at Criterion and seems to work on front end and UI.
Dave Smeathers worked as a programmer. Smeathers joined Criterion in 2006 after being “forced into making video games to pay off his online poker debts.” On Paradise Smeathers worked on coding physics and coding crashes. Smeathers later became physics lead on Need for Speed Most Wanted before leaving Criterion in 2013 to join Fireproof Games.
James Smith worked as a programmer. Smith worked at Mentor Graphics before joining Criterion in 2003 as an audio programmer. Smith became lead audio programmer before leaving Criterion in 2007 and moving to Canada to work at Black Box. In 2012 he left and joined The Coalition, where he is lead audio programmer.
David Steptoe worked as a programmer. Steptoe joined Criterion in 2002 and later became lead audio programmer. In 2013 he left and joined Escapist Games, before leaving at the end of the year. In 2014 he joined Lionhead where he worked until its closure. Steptoe currently runs Audio Software Development, which he formed in 2016.
Alex Thomson worked as a programmer. Thomson previously worked at Rebellion, Elixir and Kuju before joining Criterion in 2006 as a senior software engineer. He has worked as a technical director and lead software engineer in his time at Criterion.
Alex Veal worked as a programmer. Veal joined Criterion in 2006 as an online software engineer. In 2014 he left Criterion and helped start Three Fields Entertainment
James Warren worked as a programmer. Warren joined Criterion in 2005 as an audio programmer. He currently seems to be at Ghost Games and is audio lead.
Tom Williamson worked as a programmer. Williamson previously worked at The Marketing Bureau before joining Criterion in 1999 as a software engineer. In 2011 he left Criterion and the following year became director at JFDP Labs, where he worked until 2017. In 2012 he also started a company called Threeshinyapples Limited.
Ben Woodhouse worked as a programmer. Woodhouse joined Criterion in 2005 as a graphics programmer. On the Paradise engine, Woodhouse worked on “lighting, shadows, occlusion culling, frustum culling, scene management, and various low-level CPU/SPU jobs used in the rendering pipeline.” At the end of 2009 he left Criterion and joined Lionhead as lead engine programmer. After the closure of Lionhead, he joined Epic where he is currently lead console programmer.
Chris Hegstrom worked as audio lead. Hegstrom previously worked at Stormfront Studios and Lucasarts before joining Criterion in 2005. At the end of 2007 Hegstrom left and joined Sony where he worked on God of War. In 2010 he joined Microsoft as audio director before leaving in 2015 and starting Symmetry Audio. In 2016 he joined Technicolor before joining Amazon in September 2017.
Steve Emney worked as an audio designer. Emney was previously self employed before joining Criterion in 2004. He became audio director at Criterion before joining Disney to work on Split/Second in 2009. After the closure of Black Rock Emney became director of TRC Family Entertainment in 2012 where he worked until 2014. Since 2014 he has worked for eMotion in Sound and since 2015 has worked for The Trailerfarm.
Lewis James worked as an audio designer. James joined Criterion in 2005. In 2008 he moved to EA Montreal until 2011, when he moved to Guerrilla Games. At the end of 2013 he left and became director of Improbable until 2015, when he joined La Indiana Sound.
Zsolt Marx worked as an audio designer. Marx previously worked at Rockstar Vienna before joining Criterion in 2005. In 2008 he started to work on other EA games before leaving the company in 2010 after working on Harry Potter and the Deathly Hallows. Since 2012 he has worked as a producer and lead programmer at Noizoo Games.
Thomas Belmont worked as an additional producer. Belmont previously worked at Ubisoft (first in QA and later as a designer and producer) and Eliad Technologies before joining Criterion in 2006. In 2011 he moved to Vancouver to work on other EA games before leaving in 2014 and becoming a producer for online technologies at Ubisoft.
Nick Channon worked as an additional producer. Channon joined EA in 1996 in Vancouver before moving to the UK in 2000 and joining Criterion in 2006. In 2008 he moved back to Vancouver and is currently senior director of business development at EA.
Neil Kaminski worked as an additional producer. Kaminski previously worked at companies including Bullfrog, Pure and Argonaut before joining Criterion in 2005 as a lead artist. In 2006 he became a producer before leaving in 2008 to become studio art manager at Codemasters in 2008. In 2011 he left and joined Escapist Games before joining Pixel Heroes in 2013. After leaving in 2016, he joined CCP in 2017.
Emily Newton Dunn worked as an additional producer. Dunn previously worked in PR for various companies before joining Criterion in 2005 as a producer. In 2007 Dunn moved to EA and became a game designer before becoming lead game designer at Playfish in 2011. In 2013 she left and after being after a few companies for a few months Dunn joined Another Place in 2014. In 2017 she left and after seven months at Playdiation joined Media Molecule in January 2018 as a consultant system designer.
Anja Haman worked on additional support. Haman previously worked at Radical before joining EA in 2005. In 2007 she left before joining Black Box in 2009-2011. From 2012-2015 Haman worked at Work at Play and has been part of Microsoft since the end of 2017. Since 2000 she has worked as president of Haman Consulting.
Maëlenn Lumineau worked on additional support. Lumineau worked as a translator before joining EA in 2000. In 2007 she joined Criterion as as operations manager before leaving in 2013 and joining Ubisoft as a producer.
Adrian Selby worked on additional support. Selby joined Criterion in 2002 as a producer before leaving in 2009 and becoming a producer at Disney. After 2011 Selby worked at some non-video game companies like BP before joining Boss Alien in 2015.
Harvey Wheaton worked on additional support. Wheaton previously worked at companies including JPMorgan Chase before joining EA in 2003. In 2007 and 2008 he was COO/director of product development at Criterion before joining Supermassive in 2008 as their studio director. At the end of 2013 he left and, after working as a consultant for over a year, joined Codeclan in 2015. In 2017 he became executive producer at Natural Motion.
Graeme Williams worked on additional support. Williams worked at Virtuality, Psygnosis and Rebellion before joining Criterion in 2002 as head of product management. In 2004 he became development director before leaving in 2008. After five months at Supermassive Williams joined VIrtual Toys where he worked until 2011. He next joined Digital Chocolate before joining Ubisoft in 2013. From 2014-2016 he worked at Guerrilla before taking a break and joining Virtually Live in 2017.
Paul Dibden worked as an additional artist. Dibden joined EA in 2005 as a graduate artist before eventually becoming a development director. In 2013 he left and co-founded Milkcap before joining Splash Damage in 2015 as a producer.
John Humphries worked as an additional artist. Humphries previously worked at Bubball before joining EA in 2005. In 2008 Humphries left and joined Realtime Worlds as a lead environmental artist. In 2010 he founded Onyx Digital.
Vincent Jenkins worked as an additional artist. Jenkins joined EA in 2006 as a concept artist before joining Codemasters in 2008, where he worked until 2011. Jenkins has mostly worked as an artist for films, including Rogue One, Game of Thrones and Casino Royale. He last worked on concept art for Solo.
Rasmus Jorgensen worked as an additional artist. Jorgensen joined EA in 2000 as a concept artist before leaving in 2007 to join Codemasters. In 2010 Jorgensen left and spent about a year at Leading Light, Double Negative and Ghost A/S before joining IO in 2014.
Jason Lord worked as an additional artist. Lord joined EA in 1993 and worked as a video director until 2012. In 2012 Lord started Liquid Crimson, which has worked with companies including Square Enix, Supermassive, Hello Games, Microsoft, IGN and Capcom.
Osman Nazlivatan worked as an additional artist. Nazlivatan previously worked freelance and at Argonaut before joining EA in 2004 as a technical artist. In 2007 Nazlivatan left, and after months freelance at Big Head, joined Hotch Potch as lead artist/director. In 2011 Nazlivatan left and after under a year at both Natural Motion and Sony joined King in 2014. In 2016 Nazlivatan left King but I’m unable to find what they’ve done after. Edit: Nazlivatan is still at King
Justin Rae worked as an additional artist. Rae joined EA in 1996 and was lead artist on F.A. Premier Manager games. In 2008 Rae left and became director of art at Supermassive before starting his own company, Studio 96, in 2016.
Peter Reeve worked as an additional artist. Reeve previously worked at a few different companies before joining EA in 2004 as a video editor. In 2008 Reeve joined Black Rock before freelance in 2009 and working with companies including EA and Crytek. He currently works at RMV Productions.
Dean Stolpmann worked as an additional artist. Stolpmann worked as an artist at companies including Frontier and Sony before joining Criterion/EA in 2005. In 2007 Stolpmann joined Outso and Codemasters before joining Supermassive as art director in 2010. Stolpmann joined Gameloft shortly after before becoming head 3D tutor at South Seas Film & TV school in 2013.
Avril Lavigne sang the song “Girlfriend” which was featured in the game. The song released in 2007 and the music video has been viewed over 400 million times. Lavigne also recorded the chorus of the song in 8 different languages.The song also got another version with Lil Mama.