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3510 by Luke Jermay (Book)

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As I write the introduction to this book I am on a flight from Las Vegas to Los Angeles. I am presented with exactly forty-five minutes to sum up my feelings about the book.

A lot has contributed to the style in which this book has been written; among other things a recent transatlantic relocation from the UK to the USA to make a home in Las Vegas. I now find myself a married man, and to top it all off I have even begun work on that traveling freak show I have been dreaming about for oh so long. As I write this I am currently on my way out of Las Vegas--the magical capital of the world--feeling very ill from the extreme turbulence on an otherwise uninteresting flight. Vegas is a town that has in the short while I have lived here already deeply affected my approach to magic and mentalism. Las Vegas really is the best place in the world to see both great and terrible magic. From the best of the best to the worst of the worst, Vegas is your place.

The bulk of this book was written as I lived and worked as a traveling performer. Much of the book being written on planes, in hotels and while generally on the road. There really is a great advantage to having a mobile office. As one of the publishers of this book would say: “as long as there's a Starbucks, we're good to go.”

The book was written in this fashion with my thoughts being collected in essay form while on the road. Now, looking back over it, I find it a genuinely nosaltigic read. The task of elaborating on my traveling essays to make them more complete and lucid was much like reading an old travel journal or diary from years past.

Certain essays remind me of specific performances and places. Others remind me of various TV shows I have worked on. I hold many good memories attached to the writing in this book and some not so good memories.

The one thing the ideas presented in this book all have in common is that they were formed in part because of the countless “bad” magic and mentalism shows I have encountered on my journeys. From live performances to certain recent “TV Stars”, bad magic is simply bad magic.

It is these “bad magic/mentalism shows” that are the true inspiration for this book. Without having witnessed so much bad magic and mentalism I would never have been moved to examine my own performances at a deeper level. It was this examination triggered by these performances that inspired my feelings and thoughts as recorded in this book. So in a way I have all the shows that have made me feel sick watching to thank for their inspiration in questioning my own performances at a deeper level.

It is my hope that you enjoy what is presented in this book. You will of course not agree with everything I have written, and this is the whole point!

The best thing I could ever hope to achieve with this book is to encourage you to question your own performances in the same way I have questioned my own. If you do this, we together are fighting against those “bad magic/mentalism” shows I know we both hate so much. Together with our love for the art that has given us so much, we now have the chance to give it something back. Lets keep magic and mentalism as exciting to our audiences as it is to us.

Enjoy your journey and maybe our paths will cross along the way.

With all sincerity I am;

Luke Jermay

Beginning his descent into LA, 2006.



This chapter outlines my own personal beliefs on presenting contemporary mentalism. From the structure of an effect to building a routine and a show. Each point is complete with working examples from my own repertoire.



In this chapter we handle a working example of all the guidelines outlined in chapter one by creating and applying these rules to an effect.



A brief look at performing modern mentalism without the aid of apparatus and props of any kind. This chapters features a breakdown of what I think are the most useful methods for a performer to have in his or her tool box when it comes to performing mentalism with no psychical props at all.



This chapter outlines the attention to detail that I feel is needed to make a truly compelling performance. It also features a working example of how applying the small touches to an effect can make all the difference.



A collection of presentational additions that can be added into many effects that you already perform as well as all the effects featured within this book. These range from the use of a slinky as a pendulum right the way up to saying the alphabet backwards and writing inside out verse. These touches are used throughout the book to build compelling demonstrations and will be referenced throughout from this chapter.



This chapter features possibly the strongest, prop free, anywhere, anytime demonstration of mind reading available to the mentalist. Featuring brand new work on my original effect as well as three different effects that are achieved with the same basic conceptual methodology. This chapter also includes new work on the effect eliminating the need for a psychological force, a new and bold out for the brave performer, a new idea from which a miracle could spring “the Stranger’s Name Concept” and also features a guest contribution from Chicago’s Chris Carter.



In this chapter I take a closer look at the “Dunninger Ploy” and describe its use in relation to a card effect using a prop you almost certainly already own.



Here I share my personal thoughts on the world of TV magic. From selective editing to pre-show work and dirty “camera tricks”.



This chapter is a work inspired by my influences. As performers I truly think we are building everything we perform on the work of greats from the past. Here I share three routines that I feel are directly inspired by Canasta, Dr. Jak’s and Koran.



This chapter features mentalism with playing cards. All neatly piled together so those who would rather poke themselves in the eyes with anthrax covered magic wand than mix mentalism and playing cards can simply skip.



A chapter featuring effects that mix the classic methods of magic and mentalism with suggestive techniques to create bold and new effects never before possible.



No skulls, altars or sacrificed goats rather Mentalism with a surreal twist. From making time stand still, traveling backwards in time, scars healing themselves, incredible coincidences, a game of life and death, demonstrating your "grift sense" while charmingly stealing from your spectators, revealing innermost fears and stealing watches with your psychic power Its all very odd. Featuring guest contributions from Morgan Strebler, Craig Browing and Liam Montier.



Methods to zero in on the correct spectators for your effects. This features a cold approach to working with suggestive methods as well as a honing method design for the stage performer and a method designed for the close up worker.

Manufacturer Says

First edition: Copyright 2007, Penguin Magic. Hardcover. 177 Pages.

Bonus Instant Download When you purchase 3510 by Luke Jermay you'll also receive 10 Card Poker Deal by Luke Jermay (Instant Download) (a $ 15 value).

3510 is sold by magic shops all around the world. If you have purchased 3510 from a shop other than Penguin, YES, you still qualify for the bonus 10 Card Poker Deal Instant Download. Please email customerservice@penguinmagic.com for access to your bonus download. We'll ask you to prove your purchase with a simple question that can only be answered if you have the book in front of you.

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Customer Reviews (showing 1 - 10 of 46)
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Wow... Report this review
Pro Privacy ON (login to see reviewer names) on August 16th, 2010
This book is amazing. The first 1/4 of the book is stuff that is just going to make your performance better and fine tune things. He goes into deatail about how less is more and a million other things. He goes into background on each different type of mentalism and the psychology behind them. Then you jump into the effects. You start by reading about Touching on Hoy. When I first read the description, I said "Impossible!" Then I read the method and I just about fell over laughing because it was so clever. You will never be caught, you don't need ANY props, stooges, preparation or anything. This trick is more practical on a stage setting, but it can be done for a smaller number of people. If you get the book you'll know what I mean. Hopefully this isn't revealing anything, but it works better for a stage performance because you don't want the volunteers talking about what they were thinking after the effect. I haven't finished the book yet, but after I read how this effect worked, I said "wow I need to write a review." If you are into mentalism, you will find great things in here. I promise you.
5 of 5 magicians found this helpful.
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3510 - Great Book Report this review
Pro Privacy ON (login to see reviewer names) on September 18th, 2011
Ignore the people who wasted part of their review criticizing the book's lack of proofing and editing. You'll barely notice this as you will find yourself so thoroughly captivated by the subject matter and Luke's perspective. The practical insights in this book are a must-have for anyone who does mentalism. MUST HAVE. Not optional :)

The routine Touching on Hoy is, as many have noted, worth the entire cost of the book. But really that is not true, it is worth many, many times the cost of this book in the hands of a serious performer.

There are a couple other effects that are workers, and then a number that are probably not strong enough to use, but what you learn about performance is itself of the highest value.
5 of 6 magicians found this helpful.
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The Devil is in the Detail Report this review
Verified buyer Pro Privacy ON (login to see reviewer names) on May 24th, 2011
Ok I ordered Lukes book (first time Ive read his work), the book came bound similar to that of a hard cover diary.

I began to read the book and the content is good had it not been for one major flaw that blantantly stares you in the face and yells "PROOOOOF READDINGGG"

Not just regular grammar issues but words that dont make sense in the context that you literally have to do some mind reading to unerstand what the word was supposed to he!!! (dee how i did that )Yes that is an example of the kind of printed word erros throughout the book (yep I did again to make my point).

Now once I over looked the printing and mild grammar errors im stuck with trying to understand OCCASIONALLY what Luke was trying to convey in the paragraphs (this happens sometimes). Luke has written a 'Essay" style book that is written more like he speaks than in true writting style. This as previous reviewers have noted makes it sometimes a little frustrating to follow (I hope you follow).

Apart from that there is some real meat in the book that can be utilised in any magicians repitoire.

I personally would have been happier if it was a download ebook at a cheaper price but reading a book that has not been proof read is disapointing.

P.S. No I didnt run this through spell checker and your not paying for my review so dont expect my grammar is perfect.
5 of 6 magicians found this helpful.
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Some Good Ideas, But It's A Head-Ache to Read At Times... Report this review
Pro Privacy ON (login to see reviewer names) on April 23rd, 2016
This book does have some good ideas,
but you'll need to read a paragraph several times
before understanding what the heck Luke is trying to say.
And it's not because the material is technically dense or advanced. It's because the writing is simply unclear, has typos (meaningful ones), and there are words that seem to have fallen onto the page by accident in the middle of sentences.

The writing is almost as bad as Paul Brook's.
You'll find yourself revising a sentence after reading it.
I almost wanted to rewrite the entire book so I could read it once without getting a head-ache.

Many reviewers have said they bought this book for Touching on Hoy. This is found in Coral Fang. There are several additional "touches" he has added--different ways to present it, and different outs in case one person remains standing. None of these stand out as decidedly better, IMO.

The additional scripting he includes is meant to further clarify the deception, but arguably it muddies it. The additions remove much of the original appeal of TOH. I could be wrong, but that's my feeling.

Also, this bugs me the most:
Jermay's wording could be GREATLY improved.
It surprises me all the more since Jermay is known for DR and scripting. The wording is the same as it was in Coral Fang.

In TOH, Jermay's script reads,
"I would like the person who felt me touch them..."
"If you just felt me touch you just now..."

I think the only reason anyone would use the above phrase
is because they've been exposed to PK Touches.
It makes sense in PK Touches because the very effect is the touching.

In TOH, however, I feel it draws too much attention to the touching, by using this stilted/unnatural phrase.

If someone is in a row of people, and his eyes are closed,
you do NOT indicate that you are addressing him by saying, "If you felt me touch you just now."

More natural would be,
"You--the person I just touched, I want you to..."

Without revealing the method, that is my contribution.

Sometimes the way you phrase something--as a magician or mentalist--can be too revealing.
2 of 2 magicians found this helpful.
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Verified buyer Pro Privacy ON (login to see reviewer names) on January 11th, 2014
Okay so the grammar isn't perfect but the material is darn close! This had the "Touching On Hoy" routine, in which three people come on stage, you tell them to think of a shape, a date, and a person's name, and you get them all right. Its quite simply a perfect effect. (Jermay doesn't mention this but I thought it might make the collection of things the spectator thinks of more logical: Have them think of a shape, a year they remember taking geometry, and what their geometry teacher's name was-that way its not just an arbitrary collection of items) Additionally it teaches some really integrating instant stooging, some masterful dual reality controlling, and recommendations on performing strong mentalism. Aside from Touching On Hoy my favorite effect in this was one in which a ring is claimed to have healing properties, and when taken off, a large hand scar appears on your hand, and when put back on, the scar heals. Just awesome. While a lot of the material is aimed at a stage performer, there are several items that would work parlor or even close up. I HIGHLY recommend adding this to your next purchase, if you do stage performances and even if you don't because the thinking in this is inspiring and really really strong.
2 of 2 magicians found this helpful.
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Poorly written but good information Report this review
Verified buyer Pro Privacy ON (login to see reviewer names) on December 21st, 2013
I decided to buy this book despite the numerous reviews about the plethora of grammatical and spelling errors. I tried my best to ignore these errors and concentrate on the information being presented, However, I personally could not overlook the complete lack of proofreading. Although the material Luke presents is fascinating, it is so poorly written that it distracted from the material.

I would estimate (somewhat conservatively) that there are 4-5 errors per page of text. Personally, I would be embarrassed to put my name on something that was so riddled with blatant mistakes.
2 of 2 magicians found this helpful.
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Best of Luke Jermay's writings Report this review
Pro Privacy ON (login to see reviewer names) on October 2nd, 2012
I find this book to be the best of Luke Jermay's writings. Fantastic buy. You will really like it. Very strong routines and thinking going on here.

You will find a solid write up on improving performances as well as good clean, yet very strong effects in this book.

Very strong. Touching on Hoy is a killer.

I highly recommend this book. It is certainly worth every cent. Very solid stuff!
2 of 2 magicians found this helpful.
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Touching on Hoy Report this review
Pro Privacy ON (login to see reviewer names) on April 2nd, 2010
Really the only reason to get this book is for touching on Hoy. Touching on Hoy is among the top few mmentalist tricks ever. Three people thing of random things and dont write them down or anything and you name all 3 thoughts that only exist in their heads with no fishing. Most of the other tricks basically stink. Theres a nice trick based on a dunninger concept and a good idea on pre show work but the rest of the book is worthless. Those 3 however are worth far more than 50. The bonus download is good too.
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Touching on Hoy Changed my Life Report this review
Pro Privacy ON (login to see reviewer names) on April 2nd, 2010
First impression:
HORRIBLY written. Sometimes it takes genuine effort to actually figure what he's saying. Mostly, these problems could have been remedied by a good copy editor, but sometimes he's just not communicating clearly. It really seems like what I was reading wasn't the final draft. Maybe not the first draft, but probably the second. I wouldn't be surprised if Jermay wrote the essays and chapters then proof-read them once and handed them in to be published, expecting there to be some sort of editing process and then there wasn't. I mean there are errors a basic spell-checker ought to pick up. Ironically, Jermay spends the first little part of the book emphasizing clarity of presentation while it is difficult to follow what he is trying to communicate.

But, don't let this turn you off, the material that you find later on is worth well more than the asking price of the book. I really haven't enjoyed watching any of Jermay's presentations at penguinmagic.com and I own E.I. and I think that it's not really super great, but when I got to "Touching on Hoy," in 3510, Luke Jermay became one of my heroes.

When it comes to knowledge and understanding of magic and mentalism, Luke Jermay is in a league almost all his own. He puts this knowledge to good use and it shows in "Touching on Hoy."

Second Impression (How did I ever live without Touching on Hoy?):
Let me give you the basic effect. Three spectators are seated on stage and one is asked to think of shape, another thinks of a date, and the third spectator thinks of a name. These really are free choices. You then say a shape, date, and name and the spectators confirm that you are correct.

THE CLINCHER: At no point before you make your prediction/guess/reading do the spectators write down or say what they were thinking of. They really merely think of it. If you want to, you can even have a fourth spectator make the prediction and baffle the audience as the spectators confirm the prediction/guess/whatever is correct.

The method is devious and I love it.

There is a lot more material in the book and it's all quite good. I may not (okay definitely won't) perform everything in it, but I wouldn't consider anything in the book "throw-away material." Luke Jermay deals with instant stooging and other methods of audience manipulation that left me slack-jawed.

I will say, however, that this is not an introduction to Mentalism. A general understanding of the genre/art is expected and 'basics'/'classics' are referenced in it that are assumed to be understood. For example, if it were a book on card magic, it would assume you know what an Ambitious Card Routine is or what Out of this World is without explanation.

Jermay provides references and gives credit thoroughly. He is definitely not trying to boost his own ego and has really tipped his hat on some amazing work-horse pieces.

Overall 9/10. Having the best material I've come across in quite some time, I'd love to give it a perfect 10, but the writing is just so poor I had to take a point off and I was tempted to take off two.

2 of 2 magicians found this helpful.
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In Need of a Proofread Report this review
Pro Privacy ON (login to see reviewer names) on January 23rd, 2009
There are plenty of thought-provoking ideas in this book. Luke's ideas and experience are of exceptional quality.

However, the grammar, sentence structure, and overall proofreading job is atrocious. While not as bad as Building Blocks, this book is in need of some serious editing.

If one of the aims of the book is to elevate the art of magic, then doesn't unprofessional writing undermine this objective?
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