Creative Magic Illusions at HUGE Discounts + FREE Shipping Offer

All of the items below ship within two business days. A massive consignment arrived here at The Depot. These items are all in stock, in new condition (many still in their original plastic). I have personally inspected each item. Previously owned, but never used.

FREE SHIPPING WORLDWIDE! Use the “Bypass Checkout” links below to purchase via PayPal, and get FREE shipping worldwide. Regular shipping rates apply if you use the website to checkout.

ALL offers END Friday at Midnight. Thank You!

Creative Magic Tablecase

Possibly the most practical magic performance table ever. Packs into a small bag, easy to transport. Plenty of storage with customizable pockets and shelves for holding all your props. Sets up in about two minutes. After your show, the entire table folds into a small bag with the props still in it ready to go. Incredibly useful, onstage and off. This Show Table was the last product Creative Magic made, and it was NEVER RELEASED to the general magic community. This is probably your last chance to own one. See it in action!

Collectable Price: $1200.00
Sale Price: $700 each
Sale Price: $500 each
Available: 3
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Helmet Head Twister Illusion

One of Creative Magic’s final products was a “surprise” Helmet Head Twister Kit. It came with everything you needed, minus the helmet. The kit was never released to the general magic community, and it was never listed on their website. It is one of their most creative adaptations. It packs flat—like all of their products—and plays HUGE! If you have been wanting to add the classic illusion to your act, here is a unique TWIST. Get the details!

Collectable Price: $700
Sale Price: $500
Sale Price: $300
Available: 1
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Shadow Tent Illusion

tentwithgirlSpecially designed by professional magicians and custom manufactured by a leading tent fabricator, the Shadow Tent is every magician’s dream come true. Durable, extremely lightweight, packs super small, and sets up in minutes. This will sell FAST. See it here!

Collectable Price: $2000
Sale Price: $1500 each
Sale Price: $900 each
Available: SOLD OUT
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B Screens (Bryce Screens)

bscreensfullFinally! A portable version of the famous Bryce Screens. B Screens is the perfect way to produce Santa or a CEO, as the blocking can be learned in minutes. It is also a great way to produce yourself, fast and visual! It’s a time-tested illusion that can be performed TOTALLY surrounded. This is a must have, but only one magician will score this incredible illusion.

Collectable Price: $2000
Sale Price: $1800
Sale Price: $1500
Available: SOLD OUT

Flip Switch

Possibly the most practical transposition ever. Packs into the smallest duffle bag Creative Magic ever made. A simple and beautiful prop that can be used in a wide variety of appearances, disappearances, and transpositions.

Collectable Price: $1200
Sale Price: $1000
Sale Price: $900
Available: SOLD OUT

Cube Squared (Human Square Circle)

Cube Squared is a human square circle with endless performance possibilities. The basic performance idea is to show the two cubes empty and then produce a person or large objects using the square circle method. Cube Squared is specially designed to be compatible with Victory Cubes.

csallthreeCollectable Price: $1100
Sale Price: $900
Available: SOLD OUT

Invisible Paint

Invisible Paint is a Square Circle that is also a Phantom Tube, manufactured to look like a standard paint can. Now, pulling colors out of a “tube” makes sense! It is one of the most popular illusions ever produced by Creative Magic. A clever combination of principles and design. It’s easy to transport, easy to setup, fun to perform. See it in action here!

ip-2Collectable Price: $1000
Collectable Price: $800

Sale Price: $600
Available: 1
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Random Fate

Get ready to have some fun! Energize your crowd! Random Fate takes “Packs tiny, plays HUGE” to a whole new level! Perform Random Fate solo, or combine it with Victory Cubes. Random Fate comes with twelve beach ball/balloon covers numbered one through twelve to help you in your “ultimate quest for randomness!” And, of course, it comes with a custom bag that expands to become a large duffle bag to hold it all.

Collectable Price: $1000.00
Collectable Price: $800.00

Sale Price: $700
Available: SOLD OUT

Victory Cubes

Instantly transform an auditorium into a Vegas showroom! Add a quick and easy change of scenery to your show with hardly any setup or lugging heavy sets. Great for hiding props on stage. In fact, you can pull small props out of any of the spandex dots. cubesstackmePerfect for blocking those tricky angles, or for ditching used props. See it in action!

Collectable Price: $800.00
Collectable Price: $600.00

Sale Price: $350
Available: 5
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Knot a Card Trick

Perform the classic Cut and Restored Rope trick with a deck of specially printed Bicycle cards. Watch the video!

Price: $29.95
Available: 19
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Pandora Bag Set (Double Pack + DVD)

What makes these bags so different from most force bags is The Pandora Bag starts out completely empty. The audience drops the contents into the bag and without you touching a single item in the bag, it becomes a force bag with you in 100% control of panddorabagwhat item will be selected every single time.

Collectable Price: $200.00
Sale Price: $100
Available: SOLD OUT

Pandora Bag (small)

This is the small Pandora Bag only, without DVD. What makes this bag so different from most force bags is The Pandora Bag starts out completely empty. The audience drops the contents into the bag and without you touching a single item in the bag, it becomes a force bag with you in 100% control of what item will be selected every single time.

Collectable Price: $150
Sale Price: $75
Available: 5
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Bruised Refills (4 x Bundle)

Bruised just might be the most powerful way to reveal someone’s thoughts. It is a great new way to reveal a chosen or thought of card but it is much more than that. It can be used with coin tricks, ESP tricks, to reveal a number, name, initials, or word and so on. Get the bundle!

Collectable Price: $150.00
Sale Price: $100
Available: 1 bundle (four refill packs)
(click here to bypass checkout)

Biggest Inflatable Wand

The largest wand ever made by Creative Magic. This massive wand is made from durable inflatable materials. Includes a carrying bag.

Collectable Price: $185.00
Sale Price: $100
Available: SOLD OUT

Pandora Bag (super)

This is the Super “jumbo” Pandora Bag only, without DVD. What makes this bag so different from most force bags is The Pandora Bag starts out completely empty. The audience drops the contents into the bag and without you touching a single item in the bag, it becomes a force bag with you in 100% control of what item will be selected every single time.

Collectable Price: $150
Sale Price: $75
Available: SOLD OUT

Change Cap

The most innocent looking and un-suspecting change bag ever! It looks just like an ordinary baseball cap, and you can wear it just like a baseball cap. It is stretch fit so the standard/small size fits most heads, but you don’t have to wear it at all. It can be used for endless change bag effects for stage workers, mentalists, kids performers, and street performers.

Collectable Price: $200
Sale Price: $100
Available: SOLD OUT

Bigger Wands Covers

If you have a set of Bigger Wands, then you know what these covers do, and chances are, you’ve been looking for a set since they were discontinued by Creative Magic. This item is not available though our website. Use PayPal to purchase direct.

Collectable Price: $150
Sale Price: $100
Available: SOLD OUT


Are magicians to blame for 2016?

Social media is flooded with posts bashing 2016. It was not a popular year.

Maybe I’m to blame. Perhaps you are too?

Looking back, I produced far less art than I usually do in an average twelve-month period (there’s a list at the end of this article). Several of my closest friends and colleagues have said they also wrote fewer books, created less magic, drew fewer pictures, etc.

A trend such as this nationwide could explain the angst of the old year.

After all, if a magician performs less often, there is less magic in the world to give hope and wonder. If an illustrator draws less, there are fewer pictures to explore. If an author writes less, there are fewer stories to experience.

The little things in life make for good years.

People love art. They enjoy talent. You have an open invitation from the void to create. Whether that means magic, illustration, sculpture, music, acting, whatever. Your audiences will reward you. If not financially, emotionally.

Even though I didn’t create much, I am still a far better artist today. I developed new talents, and honed old skills. I spent a lot of [quality] time dreaming, and now I am ready to produce.

Artists make things, yes? Then I am going to make 2017 magical. This year won’t have me to blame.

How about you? I would love to read your thoughts on this in the comments.


One of the ways you can potentially create more and better art in the New Year is by expanding your venue options. As a performer, another venue is another revenue stream—a new market.

There are a number of excellent effects on the market perfect for a closeup magician moving to the stage, such as Linking Rings, Egg Bag, $100 Billet Catch, and Suit Up!

But if you want to add a signature trick to your local performances, consider Victory Cubes.

Victory Cubes are an instantly recognizable prop for your brand. Plus, they play HUGE, and they are a ton of fun for you and your audience. Not only does a large prop like this provide more venue options, you have a better chance of earning a clients’ attention when your promo pictures feature a signature illusion—a signature value.


It was about this time two years ago, I introduced a sample of my Old World Siberian Chain Escape. The sample was so successful that it became its own product, including custom routines. Today, it is called The Old World Chain Escape MINI.


Back in 2015, I started the New Year with a trick I gave away free, “Dollar Shotpossible.” A signed dollar vanishes from under a clear glass. Very easy to do, and still free!


The year wasn’t a total artistic wash for me. I published Chain Game, which is itself a commentary on art in magic (part of the DVD), Easy Blood From Anything, Mental Marker FX Spray, and I produced Sutterbee’s Fine Magicians Rope.

I began theSTUDY: A Magical Place to Better Your Craft, my spring-summer podcast.

With my friend, Phillip Shamblin, I directed Eat Your Heart Out, and The Shadow Box, I also appeared in the latter, and we just began production on To Kill A Mockingbird (we blocked 42 pages in the first four hours). I was stage manager for Oklahoma! and A Christmas Story.

I founded a comic book company, and began the first two titles.

Between those projects, I answered your emails and phone calls, followed a close election with bated breath, and I worked long, difficult days and nights in the workshop.

This year, I plan to double, maybe even triple all of the above. I hope you come along for my adventure, and include me where you can in yours.


When Magicians Do This, They Create Art

THIS IS ART: my hands are dirty, my knuckles hurt, and the sweat in my eyes stings. I love every minute of it.

When you purchase a DVD from a magic shop, an exact copy of the original is taken off the shelf, and shipped to your address. Even if it is an amazing DVD, the transaction itself is not spectacular.

It is not art.

Yet the opposite is true for other items. For instance, when a magician purchases an Old World Cannibal Facemask, they have commissioned custom art.

The transaction is immediately different from an off-the-shelf DVD. The comments box from checkout might be filled with special requests and eager questions that will factor into the finished piece.

The DVD order is void of this energy.
And the process diverges even more from there.

First, I visit the magician’s website, Facebook page or Twitter. I research their previous orders from The Magic Depot. Does he wear a suit when he performs, or jeans and a t-shirt? Is this for a woman, and if so, what is distinctive in her style?

I might take the whole day to think about this person. Testimonials on their webpage let me know more about the performer than I can gleam from a cold invoice. Videos allow me to see the performer in their natural element.

Next—this will sound cheesy—I run my hands over the cold steel panels from my metalstock until I find one that “feels” right for the project. Perhaps there is a bump or tarnish I can enhance. I analyze the metal’s individual characteristics, and match it to the performer.

A photo of me wearing the first Facemask. I liked the picture so much, I turned it into the cover image.

Time and wear are impossible to truly duplicate.

I visit local tack shops, thrift stores, and flea markets for secondhand leathers and buckles to make the straps. The benefit of secondhand leathers—other than my own abstinence of animal products—is authentic aging.

Again, this will sound silly, but each component calls out to me individually. All the while, I picture the magician who will wear or display the mask. Their spirit, for lack of a better term, becomes an ingredient of the final design.

It takes about three days to make a Facemask.

Turnaround is scheduled based on workshop flow and the weather, as the finish requires strict conditions, and the forged parts of the mask are done in our outdoor furnace.

A big part of the journey for me is hiking out in the woods to find the wood needed to smoke the metal. It has taken me years to know what to gather. The “wild” wood isn’t burned solo, but rather combined with my seasoned supply of oaks and hickories gathered years ago.

I cut the metal to shape based on pictures of the performer, and the necessities of the mask’s overall design. I grind, chisel, file, hammer, and sand the edges several times. I strategically soften areas of the metal where I plan to work the steel—hundreds of hammer strikes, with a half-dozen different hammers.

After I get the sheet prepped, and the slits cut for the straps, I hammer the first bend. Then the next. I look again at the magician’s profile picture to factor in the curves of their face, where their cheekbones set, and how the length of their skull fits the mask.

“What’s in the box?!?!?!” This is how your Old World Facemask arrives in the mail.

At this point, I am about fifteen hours into fabrication. Already, this mask is unique. It is imagined. It did not exist before the magician commissioned it, and if I were to die, it would never be finished.

The mask is art we create together.

The example DVD I mentioned earlier—while still a valuable tool—does not manifest the same shared experience. It just isn’t the same when you open the box.

When a magician commissions art—a custom prop of any kind—the transaction not only provides that performer with a unique addition to their show, it reinvigorates the craftsman. It gives purpose to raw goods.

It turns time into an experience.

Click HERE to commission your own, unique Old World Facemask.

Add a hand painted/etched logo or graphic starting at $70 (ask in the order comments).



Magicians Often Ignore This Very Important Theatrical Technique

In this article: a Chain Game update; Eclipse launches secret project; a theatrical technique magicians often ignore.

chain_game_aaron_smithSince November, I have been in the workshop everyday, often until the wee hours of night (holiday business, new releases, etc). I had the best intentions of allowing an independent company to manufacture The New World Chain Game for me, but honestly, there are details only a magician can see. Stubbornly, I decided to make them by hand. Each Chain Game takes thirty-two hours [including dry time]. But I’m happy. The quality is superb! Orders are now shipping.

eclipse_into_darkness_aaron_smithFor the past eight years, I have been planning a secret project. It revolved around a TV show, but the show was cancelled. Now the project is back and bigger than ever. And even more secret! It won’t make sense right off the bat, but Eclipse Into Darkness is part of the project. As such, I had to delay Eclipse so that it could be revamped. Eclipse will start shipping in a couple of weeks, and when you have it in your hand, read between the lines for a hint.

open_me_by_aaron_smithThere are a few “Open Me” Rabbit Hole Cards still available. Remember, we are shipping them all at the same time. I don’t want any leaks about what’s inside.

To make this year even busier, in February I co-directed and acted in The Shadow Box, the Tony Award-winning play by Michael Cristofer. The Shadow Box is the second play I co-directed with Phillip Shamblin at the Coleman Theatre. We had an excellent cast who immersed themselves into their roles, and it was the first time all four of the Smith’s shared a stage together.

Shamblin is an artist in a number of ways. He is a skilled actor with hundreds of roles under his belt, and his talents as a director are extraordinary. In this article, I am going to focus on Phillip’s blocking skills—a theatrical element often ignored in our industry.

According to Wikipedia, blocking is “the precise staging of actors in order to facilitate the performance of a play, ballet, film or opera.”

shadow_box_WEBThe word originates with Sir W. S. Gilbert, of The Pirates of Penzance and Gilbert and Sullivan fame. In the late eighteen hundreds, Gilbert staged each scene of his plays on a miniature stage, using blocks to represent actors. Hence, “blocking a scene.”

Today, blocking has become a loose term used erroneously to describe any or all action by an actor. This is a misnomer. Blocking may include movement, but blocking is position.

Phillip and I had some time to talk after build-out for The Marvelous Wonderettes this weekend. I decided to pick his brain on blocking, so that I could share his special insight with my fellow magicians.

First, I wanted to hear what blocking was in Phillip’s own words. He said, “Blocking is placing the actors in the most effective position they can be in to tell the story.”

There are hundreds of articles on storytelling published in the magic community, but you rarely hear about blocking even in industry-specific technical essays. If blocking comes up at all, closeup magicians often incorporate it as an afterthought—trudging through it at their first performance.

One of the reasons magicians might overlook blocking is that we perform the same act in so many different venues. We assume specifics are venue dependent. Whether you are a stage magician or work walk-around at restaurants, blocking is an important part of rehearsal from the very beginning of routine construction.

Blocking for me begins very early,” Phillip said. “As I’m reading the script for the first time, I am already blocking scenes, picturing where people should be—their movements and gestures—where they should cross on a certain line.”

Scripts, though recommended to magicians, are overlooked in the trenches. Without a script, performances are experimental rehearsals. An emphasis on blocking illustrates the need for a script—something solid in which to refer back during an evolutionary process.

“Blocking develops and continues to develop and change. It progressively falls into place. Even after the show is put together and people are placed and blocked, it continuous to evolve. Blocking begins with the first reading of the script, and continues through to the last performance.”

Last year, a magician sent me a routine he created. I noticed in the outline there was little time for movement, for the character to become dynamic. During the creation process—the dreaming process—this magician had not envisioned where he was in relation to his audience and his props. There was zero movement. No life.

When Phillip directs a play, he may first read the script a year or more in advance. From the very beginning, he envisions the characters interacting with their environment. “It’s like watching a movie in my head,” he said. “And I can see the characters using their props and their physical contact with the other actors.”

As magicians, we are usually the solo performer. We rarely work side-by-side with another performer in the same act. However, we still have the burden of thinking like a director in a play. We have to picture life, and then bring it out in our performance.

“It’s just a matter of transferring it from the brain, to the mouth, to the actor, to the stage.”

Often, the only pieces of a magician’s environment that is the same from venue to venue, is their tables and clothing. Phillip likes to incorporate dressing in the blocking early on his planning.

“If a character is of a certain type, envision them in a costume . . . it becomes a prop. Something they use. If you have a woman who always wears a great big hat, you are going to envision that the whole time. It’s going to become part of her.”

For me, blocking has always been a source of comfort as I visit new venues. When everything else is strange, I still know where to stand. My blocking is familiar. In The Shadow Box, which we only had five weeks to rehearse (a week of which I was in California visiting friends at The Magic Castle), we blocked both acts the first week with a skeleton set already in place.

“I think blocking is the foundation,” Phillip told me. “You give the actor a starting point, an ending point, and maybe a point here or there in the middle, and the action is what fills in the gaps. Telling the story is a combination of what the director sees and what the actor sees. Without blocking, it is chaos. There’s no organization.”

Where you are and how you stand can have as much impact to a magic routine as what you perform. These elements can alter your words too—the storytelling itself.

“A tweak to the blocking—a movement here or a step to the right or left—may enhance your dialogue. Blocking can give your words new meaning; make your script more effective. Simply having an actor turn a certain way can change the delivery. It can change the character, good or bad.”

Phillip starts with blocking, and then adds each of the other layers on top of this foundation. The action, the dialogue, all comes back to blocking. And the results he gets are phenomenal. The positive reviews from actors, audiences, and even critics are a product of his skillful blocking.

Position has a lot to do with x and y on stage—where your feet are at any given moment—but every aspect of your body is influenced by the placement. Performing, whether it is acting or magic, is a full-body exercise.

Phillip offers this advice: “When a magician performs closeup directly in front of an audience, they can incorporate eye contact into their blocking. Eye contact draws people into the story. It isn’t intrusive. You don’t have to touch someone for them to feel your presence. You don’t have to get in their space.”

Magicians new to blocking might begin overthinking it at first. “Keep it clean and simple,” Phillip said. “Otherwise, blocking can look messy. Consider working with a director. Even if that is just another person with fresh perspective. A director can help cleanmagicclean up those spots that need tightened up, that may need a little work. A director can look at what the magician already has, and make suggestions. Tweak it a little. Make it more effective. Cleaner. Smoother.”

This is one of the reasons Phillip and I work so well with each other. We both place primary importance on a clean performance. I wrote about this in depth recently in my whitepaper, Clean Magic.

“Nobody likes a sloppy performance, whether you are a magician, actor, singer, or dancer,” Phillip said. “The audience wants a clean, nice performance. Sloppy looks unprofessional. Sloppy looks like you are unprepared. So the cleaner it is the more prepared, the more professional you look. The more magical you look.”

For more information, you can hit the books, hire a director, or join a local community theatre group. The latter is quite rewarding, and as a magician, you may have special skills to benefit the troop.

Stage Flying, PK Magic, and Viral Coin Video


Grid loft above the Coleman Theatre stage. Much of this was installed in the 1920’s, including the 2×4 slats where I was standing over fifty-feet in the air. The Coleman is on the National Register of Historical Places.

Last month, I completed the design and overhead install of a fly rig at the Coleman Theatre for a large MLT production of The Wizard of Oz.

The fly was a single point pendulum line set. I used CMI for the pulleys and continuous slings at a 15:1 safety factor and 4:1 mechanical advantage, 500 feet of KMIII half-inch black static line, 3/8 inch wire rope slings at the rigging plate, locking steel carabiners and Crosby three-ton shackles for the connections. Each component proof tested at the factory.

It took four techs to operate the lines, one lift line and two traverse lines.

It was an intense six weeks. Crawling around on the grid seventy feet above the stage like Spider-Man before every performance, numerous municipal board meetings for contract negotiations, and the mental exhaustion of strict cues on a three-hour show with over one-hundred actors and crew over the course of four-nights—a total of twenty stage flights plus two weeks of rehearsals.

Add to that pyrotechnics and smoke effects. I definitely have a feeling of accomplishment, but I also have bruises, blisters, and torn ligaments in my fingers. Now that the nightmares have stopped, I can’t wait to do it again!

But first, Halloween. As the manufacturer of the STAT brand of products—one of the most popular lines this time of year—my focus is in the workshop. I get there early in the morning and stay until late at night. We ship gallons upon gallons of stage blood every October. Our FedEx driver finally asked, “What’s with all these First-Aid kits?”

Commando Trick: What’s in Your Wallet?

Jeff McBride famously promotes the benefits of a “commando act.” An act you can perform in any venue, for five minutes or an hour, silent or patter, for any demographic. Jeff’s commando act made him a star. But what about a “commando trick?” A trick you can easily keep with you and perform for anyone, at any time—individuals, groups, children and adults. For this I keep a Folding Coin or a Bite Coin in my wallet. They are cheap, don’t take up much space, and I always have something ready to go; an amazing closer to some impromptu magic.

How to Make the PK Match

IMG_2113My inbox was flooded with questions about the matchstick pic on Instagram. What you are really seeing in the picture is a cut, squared toothpick with a dab of PK Putty Magnum on the end. It isn’t stuck to my finger, but rather moving back and forth under the control of a PK Power Strip, part of the Shimpossible PK Power Pack (you can also set it on the spectator’s finger or palm). PK Putty is an easy way to shim objects on the fly. If you want a PK Matchstick, cut the end off a regular match and mold a new head with some Magnum. A complete box of these “matches” creates a whole new PK prop. You can make the matchbox stand on end, twist around, or even come to your hand.

The PK Palm Beetle Revealed!

IMG_2118Speaking of the Shimpossible PK Power Pack, another question I get all the time is if magicians can use the PK Palm Beetle to replace their PK Ring. Yes and no. The Beetle is worn like a PK Ring, but there are some differences. Instead of being disguised as a ring, it is rubber coated and includes flesh strips for camouflage. The Beetle is dense, very strong, and easily loaded and ditched during performance. I thought the best way to help you visualize its uses is to simply post a picture of it. Currently, it is only available with the Shimpossible PK Power Pack.


Young Mueller Performs Viral Coin Magic

This video of Moritz Mueller is going viral right now and I think you can see why: the young man is extremely talented. Even the mainstream media has recognized his gift. Important for beginners to note is his confidence and sincerity. This kid is going places.

Free Magic DVD Instantly!

A full-length magic DVD converted to instant download, YOURS FREE!

Place ANY SIZE paid order and get the DVD free, instantly. This DVD was a bestseller by a known magician. But I cannot advertise it by name for less than wholesale.

A $34.95 value, FREE! Write “FREE VIDEO” to qualify.

Checkout these items…

A Secret that Fools Magicians…

When I perform for magicians, I fool them best with one “gimmick” above all others. There is this one little secret—though extremely famous and well known—that flies right by seasoned magicians. I think they just don’t expect it.

And it’s not only magicians who are fooled by this stealthy assistant. It baffles laymen even more!

It’s because this “gimmick” causes the spectator to mark their own card, which allows me to trick my audience under [supposedly] impossible conditions. I’ve heard Dai Vernon used this same secret to mark cards when he wasn’t even in the room.

It’s simple. Direct. Powerful. It’s Daub!

I spent years fine-tuning my Daub products in the workshop, developing new technology and mixing it with legendary tried-and-true techniques. Now, I can announce…


Of course, minerals and metals are very expensive today, which has caused the price of these Daubs to increase. But for you, the price is the same! For the next few days, you can have these Daubs at their original price.


Yin-Yang Red & Blue Sheen Daub. The perfect amount of red and blue daub, side-by-side, Yin-Yang style.

Yin-Yang Red & Blue Sheen Daub. The perfect amount of red and blue daub, side-by-side, Yin-Yang style.

Order any two of the following Daub products before Wednesday of this week, and get the third Daub of your choice FREE!

(Yes! Daub Noir for $49.95 qualifies for the FREE offer.)

Write the Daub you want FREE in the comments box during checkout. My Free Shipping Worldwide offer also applies.

Enjoy! THANK YOU very much for your business!

Best Kept Secrets Four – Wand Scrolls!

Here is this week’s Best Kept Secrets video blog featuring Magic Wand Scrolls, Suit Up, and the new Cybergician magic chat!

(click here to watch the video on YouTube)

Covered in this week’s vlog:


The Magic Chat is BACK!

Chat with magicians from all over the world. Visit

Chat with magicians from all over the world. Visit

For years, I sponsored the world’s largest magic chat. It ran for years and it had nearly 1000 members at its peak.


I have helped start a brand new online magic community called, “Cybergician.” There are some big things planned with Cybergician, starting with the new magic chat. Click here to start chatting instantly!

Cybergician is a very simple website, ad-free and only one page. Visit the site and you are already in the chatroom. There’s no need to signup or login.

The site is completely FREE, including behavior. Be who you are. Respect other members, but say what you want. As always, spirited debate is encouraged.

Would you like to offer a magic chat on your website? Cybergician offers customized versions of the chat so you can link to a page you control. Offer your own ads and information without competition. It’s FREE! Visit the site or contact me for details.

Here is The Magic Depot’s custom chat page. Enjoy!

Best Kept Secrets TWO: The $100 Billet Catch!

Here is this week’s Best Kept Secrets video blog featuring The $100 Billet Catch!

Click HERE to watch this video directly on YouTube.

Here’s what is covered in this week’s Best Kept Secrets video:

Picture Perfect: Make Impromptu Photos Magical

Aaron Smith's $100 Billet Catch is the easy way for closeup magicians to perform on stage. The perfect addition to any Commando Act.

Aaron Smith’s $100 Billet Catch is the easy way for closeup magicians to perform on stage. The perfect addition to any Commando Act.

The Magic Depot celebrates 11 years of business: SAVE 11% OFF STOREWIDE! Discount factored automatically at checkout. Includes specials prices already discounted PLUS Free Shipping Worldwide on orders over $60!

Aaron Smith demonstrates The $100 Billet Catch, only $19.95!

The world’s deadliest magic trick, now funnier than ever! With only a couple of ordinary props, all of which fit in your pocket, you can fill the whole stage with magic, comedy, and suspense. Sure, bullets are frightening, but today, money goes so fast it’s scary!

A signed $100 dollar bill magically travels from the spectator’s “hand gun,” through the air, popping a balloon along the way, and the magician catches the bill in his teeth! You get to mess with your audience’s minds, bullet catch style, without risking your own brains!

The $100 Billet Catch only $19.95!


Join Me on Twitter…

Join me on Twitter. My username is @magicdepot

Join me on Twitter. My username is @magicdepot

I am a huge fan of Twitter. It is a window into the amazing lives of my magician friends, worldwide. At times, we all come together to talk about one subject. Other times, we are splintered, each discussing our own unique experiences.

Please, join me on Twitter @magicdepot.

I hope to see you there!

On the Shoulders of Giants…

Howard Thurston by Aaron SmithAfter announcing my drawing of Howard Thurston last year, I had several magicians asking for prints. High quality prints will be available down the line, but in the meantime, I thought of a fun way to share the great magician with my friends here at The Depot.

Next time you place an order with me, check the package. We’re including a miniature print of the illustration right there on the invoice! And over the next six months, I will introduce six new illustrations of famous magicians. Collect all seven!

But who should the next six be? I’ll leave that up to you. Who are the giants… the shoulders in which we all stand?

After I finish the last portrait, everyone who responds in the comments below with their choice of the next six, will get an ebook showing the drawings from rough sketch to final illustration.