First design of a new obsession…yes or no?
Today's Document
Three Goblin Art
Sade Olutola
Game of Thrones Daily

No title available
almost home
cherry valley forever

PR's Tumblrdome

Product Placement

JVL
he wasn't even looking at me and he found me
No title available

Kaledo Art
"I'm Dorothy Gale from Kansas"

tannertan36
$LAYYYTER
Lint Roller? I Barely Know Her
DEAR READER

❣ Chile in a Photography ❣
NASA
seen from Malaysia
seen from United States

seen from Japan
seen from United States
seen from United States
seen from South Africa

seen from Egypt
seen from United States
seen from United States
seen from United States

seen from United States

seen from United States
seen from United States
seen from United States

seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United Kingdom
@not-me-again-ew
First design of a new obsession…yes or no?
A wonderful little mood brightener created by indiarosecrawford
I’ve been working on a new spring product collection, and I can’t wait to share it with you all soon! In the meantime, here is a sneak peek at one of the illustrations in the pencil stage.
Sigil Magick: Illustrating Your Intent
Sigils are a cornerstone of contemporary and chaos magick and function as keys to unlock the doors of reality and bend it to one’s will. These potent symbols serve as physical embodiments of one’s intentions, cast into existence through the fusion of art and willpower.
The crafting of a sigil begins with a clear and focused intention, which is then worked into a unique symbol through a creative magickal process. The magick practitioner inscribes deep personal meaning and style into their designs, making each unique to its artist. Sigils are ideal tools for manifesting your desires, imbuing objects with specific purpose and energy, protecting spaces, and communicating with the spirit world and should be used responsibly.
Origins
The practice of crafting sigils traces its roots to the ancient world but was modernized in the early 20th century by the works of Austin Osman Spare, an occultist and artist. He introduced the method of creating magical symbols by condensing letters of a desire into an abstract design. Aleister Crowley, too, influenced the practice by intertwining sigils with ceremonial magick, embedding them with a rich esoteric significance.
Some occult grimoires employ sigils as a means of contacting spirits, for example; Ars Goetia, The Book of Oberon, and Pseudomonarchia Daemonum.
Basics of Sigil Magick
Sigil magick emerges from the belief in one’s ability to manifest their focus into reality. Through a process of creation, a sigil becomes much more than mere ink on paper—it is the illustrated essence of desire. Individuals can use sigils as focal points for their will, empowering these symbols through meditation or ritual to enact change. The universe of sigils is vast and varied, types of sigils include:
• Pictorial Sigils: Intuitive symbols drawn from the subconscious
• Runic Sigils: Combinations of runic alphabets that resonate with specific energies
• Word Sigils: Derived from statements of intention, where letters are crafted into a unique symbol
Correspondences also serve a purpose in this class of magick, in order to help align one's intent to universal energies. As an artist crafts their sigil, they intertwine traditional symbols with personal significance, creating a bridge to the metaphysical world. Some relevant correspondences are:
• Numerology: Numbers carry vibrations that can enhance a sigil’s purpose.
• Zodiac Signs: Celestial influences infused to fine-tune the focus.
• Elements: The classic forces of Earth, Air, Fire, and Water lend their power to sigils, grounding them in natural harmony.
Sigil Creation
Before you take pen to paper, first envision your intent with clarity and purpose This may involve some deep introspection into the true nature of your desires. A precise intention lays the foundation for the sigil's power. Once ready, write out your intention and cross out any duplicate letters. From here a couple different methods can be utilized. Naturally you could always draw your sigils from pure instinct, creating spontaneous shapes to represent your intentions, but there are other techniques available.
The Wheel
This method employs a wheel to be used as a map for drawing your sigil. Simply start at the first letter of your intent and draw lines to each subsequent letter. Example:
My Method
I make my sigils by breaking up the letters to create shapes. I will often decorate with extra shapes, symbols, and pictures as well. Here is a simplified example of my sigil creation process:
Next you must charge your sigil. Charging is the act of infusing the sigil with energy. The creator might enter a meditative state, focusing intently on the sigil while envisioning their intentions intertwining with the design. This act of focused concentration serves to embed the intention within the sigil, making it a beacon for the desired change.
Passive and Active Sigils
Intentioned sigils fall into either the passive or active sigil category based on how that sigil's energy is best utilized. Passive sigils are usually drawn on the body, item, or surface and then left alone to release their power over time. Active sigils involve some action to trigger the release of the sigil's energy, such as burning, burying, soaking with water/oil, and more. Some sigils can be used both passively and actively, but most will fall into one category.
Spirit Sigils
Many spirits and deities have sigils that represent them and these can be powerful catalysts for interacting with these beings. If the spirit you're working with doesn't have a sigil made for them (or even if they do) you can design your own symbol to connect with that spirit. Follow the same process, but instead of focusing on your intent, focus on the spirit/deity and connecting with it. You can even perform a ritual and provide an offering to invite the spirit into your space. This will allow you to draw divine inspiration straight from the source. Here are some examples of spirit/deity sigils, as well as some I created:
Some creative ways to incorporate sigils into your daily life:
Draw sigils with water on surfaces before cleaning them, imbuing your cleaning routine with intention.
Carve or paint sigils on candles before burning them.
Draw sigils invisibly using water, salt water, or herbal water on surfaces.
Paint sigils under layers of paint on walls or doors.
Visualize sigils while focusing on their purpose during meditation.
Apply sigils as temporary tattoos or body art for personal intentions.
Incorporate sigils into cooking and baking:
Draw sigils in oil on pans before cooking
Visualize sigils while preparing food
Stamp sigils into cookies or pie crusts
Use sigils in crafting projects like altar cloths, jewelry, or ritual items.
Draw sigils into hot drinks while stirring them.
Create verbal sigils by rearranging letters from your intention into a chant-like phrase.
Develop movement-based sigils using hand gestures, dance, or yoga poses.
Make a sigil rubber stamp to easily apply it to various surfaces.
Embroider sigils onto clothing or accessories.
Use sigils as phone or computer wallpapers.
Incorporate sigils into your journaling or planner layouts.
Create sigil art pieces to display in your home or workspace.
Draw sigils in the steam on mirrors after showers.
These methods allow you to subtly and creatively integrate sigil magic into various aspects of your daily life, making it a more intuitive and personal practice.
Children who spent time in green spaces between the ages of seven and twelve tend to think of nature as magical. As adults they are the people most likely to be indignant about lack of nature protection, while those who have had no such experience tend to regard nature as hostile or irrelevant and are indifferent to its loss. By expurgating nature from children's lives we are depriving the environment of its champions for the future.
Isabella Tree, Wilding
magical babies ✨
@itsnoteasybeingus
The last thing I studied was Witch's bottles and I really want to make my own bottle.
It's all in portuguese but it's still beautiful
Pinecones! For my 2018 Calendar that’s currently in progress, inspired by natural history specimens and vintage educational charts.
A Folk Witch Library
Hidden like Viking gold under the landscape there is a rich body of nearly lost folkwitch tradition hiding in plain sight on the internet. Particularly in the 18th and 19th century antiquarians, folklorists and ethnologists documented the rural and occasionally urban folk beliefs of practically all of the UK and much of Europe. Organizations like the Folklore Society, founded in 1878, were created to help catalog and publish this body of collected ethnological data. A vast repository of a spectrum of witch and cunning craft practices.
Below are a list of links to various sources on the internet. The non Abramhamic roots of British folk traditions date from an era of Celtic settlers, and thus much of the spirit tradition concerns beings we now collectively call “fairies”, though their origins and nature differ greatly.
Books Available Online for free:
Folklore Society/Folk-Lore Journal:
Over 100 publications made by the Folk-Lore Society can be found on Archive.org. Unfortunately these are mostly unsorted, although they represent a massive amount of folkwitch information. Particularly in the realm of curses, hexes, salves, second sight, and boundary magic.
I will be launching a separate blog dedicated to delving into the contents of the Folklore Society’s publications in the next few weeks. In the meantime - Happy digging: Link to archive of FOLKLORE JOURNAL
Books whose content focuses on first-hand accounts of folk traditions, alpha by author. (* denotes particularly important titles)
Richard Blakeborough - Wit, Character, Folklore and Customs of the North Riding of Yorkshire (1898)
J G Campbell - Witchcraft & Second Sight in the Highlands and Islands of Scotland (1902) - Superstitions of the Highlands & Islands of Scotland, Collected entirely from Oral Sources (1900)*
Edward Clodd - Tom Tit Tot - an essay on savage philosophy in folk-tale (1898)
Oswald Cockayne - Leechdoms, Wortcunning, and Starcraft of Early England (1864)
Thomas Crofton Croker - Fairies Tales and Legends of the South of Ireland (1834)*
John Graham Dalyell - The Darker Superstitions of Scotland (1834)*
Walter Evans-Wentz - The Fairy-Faith in Celtic Countries (1911)
Richard Folkard - Plant Lore, Legends and Lyrics (1892)
W. Gregor - Notes on the Folklore of the North East of Scotland (1881)
Lady Gregory - Visions and Beliefs in the West of Ireland (1920)*
William Henderson - Notes on the Folk-Lore of the Northern Counties of England and the Borders (1866)*
Thomas Keightley - The Fairy Mythology (1828)
Robert Kirk - The Secret Commonwealth (1893, written 1691)*
Fiona Macleod (William Sharp) - Where the Forest Murmurs (Nature Essays) 1906
James Napier - Folk Lore - Superstitious Beliefs in the West of Scotland within this Century (1879)*
Sir Walter Scot - Letters on Witchcraft and Demonology (1884) - The Existence of Evil Spirits Proved (1843)
Charles Kirkpatrick Sharpe - A Historical Account of the belief in Witchcraft in Scotland (1884)
Wirt Sikes - British Goblins Welsh Folklore fairy mythology legends and traditions (1880)
Eve Simpson - Folklore in Lowland Scotland (1908)
Benjamin Thorpe -Northern Mythology, Comprising the Principal Popular Traditions and Superstitions of Scandinavia, North Germany, and the Netherlands Volume 1 Volume 2 Volume 3
Lady Wilde - Ancient Legends, Mystic Charms, and Superstitions of Ireland * Volume 1 Volume 2 Volume 3
Thomas Wilkie - Old Rites, Ceremonies, and Customs of the Inhabitants of the Southern Counties of Scotland (1916) (History Of The Berwickshire Naturalists’ Club Vol 23 1916-18, pages 50-145)
Suggested books that are unfortunately in copyright or otherwise not currently available online:
(Links to goodreads and worldcat.org)
Katharine Briggs - The Anatomy of Puck (1959)* - Pale Hecate’s Team (1962)* - Fairies in English Tradition and Literature (1967)
Thomas Davidson - Rowan Tree and Red Thread (1949)
George Ewart Evans - The Pattern Under the Plow (1971)* - Ask the Fellow Who Cuts the Hay (1965) - The Crooked Scythe
Harold Hansen - The Witch’s Garden (1978)
DA Mac Manus -The Middle Kingdom (1959)*
Emma Wilby - Cunning Folk and Familiar Spirits: Shamanistic Visionary Traditions in Early Modern British Witchcraft and Magic (2005)* - The Visions of Isobel Gowdie: Magic, Witchcraft and Dark Shamanism in Seventeenth-Century Scotland (2010)
C. L. Zalewski - Herbs in Magic and Alchemy: Techniques From Ancient Herbal Lore (1990)
Misc Short articles:
Frederika Bain - The Binding of the Fairies: Four Spells (2012)
Thomas Forbes - Witch’s Milk and Witches’ Marks (link to pdf)* (Yale Journal of Biology and Medicine, XXII 1950)
Fae Honeybell - Cunning Folk and Wizards In Early Modern England (2010) (link to pdf)
Canon J. A. Macculloch - The Mingling of Fairy and Witch Beliefs in Sixteenth and Seventeenth Century Scotland (Folk-Lore/Volume 32/1921)
Distinguish Real Visions from Imagination
“Everybody daydreams and imagines things which have no basis in reality, undressing people with our eyes, savoring a kiss that has yet to be had, basking in the Tahitian sun although we are stuck in a high-rise office. Are these visions of the future, or even of future possibilities, or are they simply images that have been evoked in the mind to provide temporary relief from boredom or unfulfilled desire? Is the same boredom with reality and lust for something more the originating force behind visions? In trying to analyze and interpret an Inner Vision, my first task is to ensure the reality of the thing, being certain that if there is any reasonable doubt as to its concrete and objective reality, that the whole thing is dismissed before I become lost in the splendor of a falsity. True visions possess exact attributes which are not shared by any sort of emotional, mental, psychological, or imaginary process. In my own experiences with visions, I have collected and catalogued these attributes, and have used them to verify each subsequent experience to aide me in making this distinction.
The first attribute of a true Inner Vision is its spontaneity. The vision will appear without the Seer having to “conjure” it up, and without building an imagined scenario in the mind until it takes on a life of its own. The vision will simply appear, presenting itself like a stranger at the door. This is usually rather startling. Even if the intention of the Operation was to receive such a vision, when it appears its sudden force and magnitude will often buckle the Seer’s composition. I have received such visions while going about my daily life, while washing dishes, folding laundry, while at work, and most often, while taking a recreational walk. The vision will move upon me with such speed that I have little time to prepare for it, and I will be overtaken so forcefully by it that taking a seat becomes an instant necessity. This has proven to be a rather awkward situation when in public, as I stumble through a crowd with my eyes flashing, trying to find a chair, a bench, or even a stretch of grass where I can sit and receive that which is being delivered.
The second test of the reality of the Inner Vision is in its originality. Daydreams are drawn from memory of a thing, rather than from some sort of clairvoyant prediction of what it might be like. If you look closely enough at your daydreams, the beach in Tahiti may appear very similar to a beach seen on a televised beer commercial, while the real beach might be covered in much finer sand with a more bleached appearance, and the ocean might be more green than blue. Your mind has drawn from your memory of that one commercial an entire view of Tahiti, filling in the unknown spots with the most likely images. This often results in disappointment when the place is actually visited, giving the tourist a feeling of frustration for having made a preemptive assumption as to the appearance of the place, even though reality may be much more fulfilling than the fantasy. That which is seen and experienced in a vision is entirely original, having a birthplace not within the mind and the memory but in something that is outside of our awareness altogether. If you tried right now to imagine what an angel might look like, your mind would begin searching your memory for an image to recall, resulting in pictures of chubby cherubs, thin, blond girls with halos, or Michael Landon. The spontaneity of the vision does not allow time or opportunity to search your memory banks and produce the image that you are seeing. The product is a completely unique image of a personage which you have never before seen. The same principle is applied to every type of vision that is experienced. If a voice is heard, rather than being the thunderous booming of God above, it may very well may be a soft, nasal tone, or will come instead as a musical concert of chimes which form words, or countless other possible sounds, completely unanticipated until such has been experienced. Places that are viewed in a vision might have never been seen by you before, yet they appear in perfect detail as they should be. Some Seers, myself included, have even tried to intellectually debate with the vision, reasoning that if I really were seeing Tahiti, wouldn’t the sand look just a bit more course, or wouldn’t the water be more blue, trying to change the image into that which I know it should be. The vision does not change from its original form, however, and all of these things which we try to alter are later verified to be true.
The third attribute of an authentic vision is the clarity of the manifestation itself. If you try to imagine once more what an angel might look like, without digging into your memory to find a suitable representation, you will end up with an image that is almost cartoonish. Without having a reference memory of a real angel to build upon, your mind will throw together whatever it can and will call it good! On the other hand, when such an entity is beheld, it will seem very real, as if an angel were actually standing before you! The details of the face, every wrinkle and crease in perfect place, the brilliance of the light emanating from within the being, the individual strands of hair, and the unquestionable threedimensions of the vision would consume so much time and conscious work to create that the authenticity of the whole thing would instantly be exposed as a fraud.
The fourth test is in the verifiability of the images, or of the message itself. The account of the vision which I shared with my former occult partner, while I was in the discipline of a Christian mystical order, was of visitations by beings that would often be classified as angels, although I later learned that they exist outside of any religious paradigm whatsoever. One of these beings visited me with the message that I needed to receive the highest initiation offered by the order outside of direct leadership, and that I needed to progress through specific grade rituals before I could leave the order. At the time of this visitation I was content to remain in the order indefinitely, and my fiancé and I had planned to be married by their priesthood in a rather extravagant ritual of union that they offered. I asked about this and the angel informed me that the marriage would not take place, and that I would be forced from the order altogether once I had completed that which he had instructed me to complete. This saddened me for quite some time, and although I was unable to question to reality of the vision or to rationalize it as some creation of my mind, due to its intensity and its verifiability, I tried with all of my will to believe that perhaps the messenger was wrong, perhaps once I had received this knowledge I could alter the destined course. I even tried to tell myself that perhaps this was a test, and that I was to not only endure, but to rise up in the order and to remain there forever, despite the warnings of the angel. Within days after having completed the grade ritual necessary to receive the final initiation, my fiancé informed me of her desire to look elsewhere for love, and we parted. Days later, the ritual of initiation was performed, the powers of that position were conferred upon me, and I was excommunicated from the order within two weeks for various reasons. And I remembered the words of the messenger and his prophecy that I had tried so hard to dismiss. When a vision is manifested, the information received from it must be verified if at all possible. When I have seen in my mind a location relating to the issue for which I am requesting guidance, when the place is visited I have never been disappointed by the difference between that which I beheld and that which is real. In fact, I usually find myself startled and in a state of momentary psychological shock by the exactness of it. This is one of the great divides between the prophet and the schizophrenic: the reality of that which is seen, heard, and understood. Sitting by and waiting for the verification of the information received in a vision, or even chasing after it to see if you were right, is not only undesirable, but is often unnecessary. The truth of the thing will make its own self manifest.
These tests can be applied to every type of vision, whether divine or diabolical, of the deceased or the unborn, beheld internally or externally, each vision should be measured against these standards. This will seem a waste of time for the person who has experienced visions with his physical senses, but all things must be measured and recorded, all things must be proven rather than taken on faith blindly.”
- “Questing After Visions: Making Conscious Contact”, by E.A. Koetting
Nymph Worship
Nymph: singular, a nature spirit in the Greek pantheon
Nymphai: plural form of nymph
First, let’s talk about what a Nymph is. A nymph is usually described as a ‘lesser’ Goddess in Hellenism. They tend to be localized nature spirits, though that’s not the only type of Nymph out there. What does that mean for your worship? Well, it means that most Nymph worship is going to be for the specific Nymphai in your area. While you may choose to worship some more famous Nymphai and ones from other areas, you’re likely to find that there are plenty in your own area that you can worship as well.
Types of Nymphai:
Here are some types of nymphs connected to nature:
Alseides (nymphai of glens and groves)
Anthousai (flower nymphs)
Asteriae, the (stars)
Auloniades (nymphai of pastures)
Aurai, the (breezes)
Crinaeae (nymphai of fountains)
Daphnaeae (laurel tree nymphai)
Dryades (nymphai associated with trees)
Epimeliades (nymphai of highland pastures, protectors of flocks)
Haliai (nymphai of shore lines)
Hamadryades (oak nymphai)
Heleionomai (nymphai from wetlands)
Hesperides, the (nymphai of sunset)
Hyades, the (celestial nymphai of the constellation Aquarius)
Leimakides (nymphai of meadows)
Limnades (nymphai who reside in lakes)
Meliades (apple tree nymphai)
Meliai (nymphai of honey, bees, and ash trees)
Naiads (fresh water nymphai)
Napaeae (mountain valleys)
Nephelai, the (clouds)
Nereids (ocean nymphai who are the daughters of Nereus)
Oceanids (ocean nymphai who are daughters of Oceanus)
Oreads (nymphai of grottoes)
Pagaeae (nymphai who belong to springs)
Pleiades (yup, like the constellation)
Potameides (river nymphai)
The second type of Nymphai are those who are associated with cities, or who serve in retinue to a specific Theos. Such as:
Lampades (torch bearer nymphai in retinue to Hekate)
Maenads (nymphai in retinue to Dionysos)
For the purpose of this post I’m going to talk about the Nymphai connected to the earth and nature.
Named Nymphai
Some Nymphai are specifically named in myth. These are usually Nymphai who are associated with specific plants, but also one’s who’ve played a role in a Theos’ story at one point or another, and one’s who are patrons to specific towns and cities. This is just a sampling of some of the Nymphai who are named in myth.
Aba- Naiad of the town Ergisce in Ciconia, Thrace
Aigeiros- Hamadryad of black poplar
Asopis- Naiad Nymph of a town by the same name
Balanos- Hamadryad of evergreen oak
Bateia- Naiad of Sparta in Lacedaemonia
Daphne- Naiad who became the laurel tree
Io-Argive Princess and Naiad who was loved by Zeus
Karya- Hamadryad Nymph of nut trees, including hazelnut, walnut, and chestnut
Khloris- Oceanid and Goddess of flowers
Klytie- Oceanid who loved Helios and transformed into the heliotrope flower when He left Her
Kraneia- Hamadryad Nymph of cherry trees
Leuke- the white poplar tree
Lotis- Naiad who transformed into the lotus
Minthe- A Naiad who was transformed into the mint plant
Morea- Hamadryad of mulberry trees
Pitys- Oread Nymphs who transformed into the pine tree
Ptelea- Hamadryad of elm trees
Syke- Hamadryad of fig trees
How to Worship Nymphai: Building a Shrine or Altar
When you’re talking about worship in Hellenism, a lot of people think about shrines and altars, since they give us a place to actually give offerings. Altars were historically built with the idea in mind of “how do I get this offering to the Theos it belongs to?” That means that Ouranic (heavenly) altars were raised up towards the sky. Khthonic (relating to the earth and death) altars were usually dug into the ground as the Khthonic Theoi were thought to reside under ground.
Altars for entities like Heroes and Nymphai were kind of odd. Some people would build them as khthonic altars, some people would build them as Ouranic, and it was’t uncommon to find that their worship was mixed with elements of both Ouranic and Khthonic ritual. Shrines and altars to the nymphai were almost exclusively built outside though from what I’ve seen. They were also built near where a Nymph was thought to reside when possible.
Personally, I like to have my altar for the local Nymphai outside, and raised up, similarly to how Ouranic altars are built. You don’t have to do it that way, it’s just the way I handle it. I also try to build any altars dedicated to the Nymphai with natural materials. So, for example, an altar for the local Nymphai in my area may be a flat stone on the edge of the forest near my home.
Giving offerings
Since Nymphai are regarded as living in or around the area where you would be making offerings, the need for Ouranic ritual, which is designed to send the offerings upwards, isn’t really there. There’s two ways I’d say you could approach this.
The first would be that you can give offerings in a khthonic manner, since Nymphai are khthonic in their connection to the Earth. This would mean pouring libations to the soil, and either burning or burying other offerings.
The other way you can approach offerings is to simply set any offerings before your altar or shrine, and leave them there for the Nymphai. An example of this would be to set an apple on your shrine as an offering, and leave it for a set amount of time before cleaning it up. If you are leaving offerings outside in local habitats be sure that you're using foods or plants already native to the area, and things that won't poison any animals who might eat it up.
Personally, I follow khthonic ritual when giving offerings to the Nymphai. I pour libations into the soil, I bury fruit, and I give the offering in it’s entirety to the Nymphai. I don’t consume any of what is meant for the Nymphai. Again, you don’t have to do things the way I do.
Types of Offerings
Any of the classic offerings can be given to Nymphai. These include:
Bread
Cheeses
Fruits
Flowers
Grains
Honey
Incense
Meat
Milk
Olive Oil
Statues (please don't be littering and leaving statues in the woods though)
Wine
You can also give them offerings from the surrounding area. If you have blueberries that grow wild in the area, then blueberries may prove to be a great offering. Again, I suggest sticking with things that are natural. Since Nymphai are nature spirits, giving them something plastic may not go over real well, especially if you’re leaving the offering outside in nature. Basically, be sure you’re not littering and leaving things that aren’t going to decompose when leaving offerings in nature. And please make sure you're not accidentally introducing invasive species of plants via fruit/seeds/ect.
Devotional activities would probably relate closely to the Nymph in question, though I do have a few general ideas.
Clean up the area where you believe the Nymph resides
Get involved in local conservation efforts
Go on nature walks and admire the influence and beauty of the Nymphai in your area
Nymphai and Prophecy
Nymphs, like many rustic deities, were considered to be connected to prophecy. Nympholepts were devotees of local Nymphai who also worked as prophets. Astragaloi, a form of divination using knuckle bones from sheep, was popular for communicating with Nymphai, and sets of astragaloi bones have been found in multiple caves where Nymphai were worshiped.
That’s certainly not the only option you have though when approaching Nymphai with the intent of divination and prophecy, and a little exploration and trial & error may turn up local Nymphai willing to communicate via other methods of divination.
Witchy Activities!
A list I comprised of things to do when you’re feeling passionate about your witchiness, but are not looking to do spells or rituals etc! I get this all the time, so I thought perhaps others do to! Some will be more basic then others, but I hope to inspire! Feel free to send in suggestions to my ask box for me to add to the list! I’ll update this whenever I can!
Collect some interesting sticks (from the ground, preferably) and wrap them in colourful string or wire, perhaps add feathers or crystals! Make into a wand? An altar decoration?
Write witch-inspired poetry or stories, or create art based on your craft.
Take a walk in nature and listen and look out for your native birds and other wildlife! Keep an ongoing record of what you see, perhaps in your BOS/grimoire? Or make a chart of wildlife you expect to see in your area, with identification methods and pictures which you’ve drawn yourself or taken from books/internet?
You can always add more to your BOS/Grimoire! (We’re all good at putting it off, through fear of “messing it up”) This video, was a great help for me!
Create a witchy wardrobe by going through your clothes and making mysterious outfits! Or visit charity shops and find inexpensive pieces?
Moderately and ethically, collect flowers and leaves to press and stick in your BOS! Pressing flowers instructions
There’s always more research to do and books to read! Check out your local libraries’ collection of books on the occult, witchcraft, paganism etc or even broader subjects like herbs and crystals?
Help your local community look after nature! Collect rubbish, volunteer at animal shelters etc?
Make sigils! Add them to your BOS? Draw them on yourself (with correct ink) or on paper? Store them to charge later?
Write spiritual chants or songs for your craft! Use an instrument, if you play one?
General crafting with nature’s bounty! This could be helpful
Create mystical or natural jewellery! Or maybe a pendant? Here’s an idea
Terrariums are a beautiful way to keep a bit of nature inside your bedroom! Here’s some instructions
Create ornamental or potent crystal arrangements! Perhaps on your altar?
Decorate or redecorate your altar space to match the season!
Gardening or planting! Water your indoor/outdoor plants? Have they got enough sunlight?
Make leaf art! Press them, draw on them, cut them into shapes, arrange them in patterns?
Join a club or class for anything new that interests you! Eg, glass blowing? Pottery? Cooking? Cards? Skills which you could easily incorporate into your craft!
If you work with deities, why not give them an offering? Something physical like a food offering or perhaps something less physical like a poem?
Decorate a notebook cover, plant pot, vase, plate etc or even your body (with suitable ink) with symbols and sigils which promote an emotion or action! Luck? To grow well? To prosper?
They’ll always be a baby witch online you can offer advice to! Or perhaps in real life at a local spiritual event?
Make a chart on the identification of clouds! Because why not? Impress your friends with your wealth of information on clouds!
Plan out your altar space or ritual for the next sabbat!
Dry and bottle useful herbs, plants and flowers you might need for a spell or ritual coming up! Or perhaps as a gift, charged with helpful energies? Perhaps make ordained labels?
Create a dream diary! Bonus points for trying to work out their meaning!
Create a witchy music playlist! For meditation? Or magickal workings?
Collect rainwater, because they’ll always be a use! In spells? Watering your indoor plants without using a tap? Some ideas
Learn a new skill within the craft, eg divination methods, herbalism etc
Visit charity shops to find inexpensive hidden gems! Interesting old books? Jewellery? Possible athames/bolines and chalices! You’ll be supporting a charity too!
Make a wild flower section in your garden to encourage bees and insects to thrive, depending on the time of year! Or even a herb garden!
Find some witch shops near you! They’ll be thankful for the business and you never know who you’ll meet!
Find a tree close to you and use it to observe the Wheel Of The Year! Try to not pick an evergreen for the changes will be harder to note. If it’s in your garden or a public place, perhaps meditate by it? Sketch it’s changes? Research its magickal attributes, folklore or medicinal properties? What Deity is associated with it? It might even provide you wand! (Concept borrowed from Kate West’s The Real Witches’ Handbook)
source