The Druid's Garden

Spiritual Journeys in Tending the Land, Permaculture, Wildcrafting, and Regenerative Living

Earthen Nature Spirit Statues with Cob September 15, 2019

An earth spirit statue in my greenhouse, freshly made with sticks and an oak gall

A lifetime ago, myself and a dear friend dug some clay out of a hillside.  We each took half of it.  My half of the clay was used to form an earthen statue, a guardian statue, for that same friend who was struggling with terminal cancer while still in his early 20’s. It had a wooden tree knot head, stones for its belly, a stick staff, and an earthen body.  My friend accepted it reverently, and it went with him everywhere, even till the end. As he struggled with his battle with cancer, it grew nicked and chipped.  The wooden head fell off, just as my friend’s brain cancer grew more serious. When he passed on, the earthen statue passed on with him, returning to the earth. This statue was an impermanent being; fashioned of unfired clay. It was brittle, yet, in its own way, full of strength. It was ephemeral, and yet perfect in its lack of permanence.  It was a spirit statue, channeled from nature, with a bit of spirit within it, there to help my friend on his journey.

 

I had forgotten about this small statue until quite recently.  I’ve been cobbing several times a week, working to get my back greenhouse cobblestone/cob heatsink wall done.  One day, I had just a little cob left over. Not enough to set more stones on the wall, but enough to play with.  I started to shape it and felt the power of the Awen and of spirit flowing through me.  I saw a vision of all of these earthen statues, shaped, with sticks, shells formed and strong. I saw them left, to break down quietly in the elements and return to the earth with her blessing. And then, I remembered that earthen statue that I made all those years ago to try to provide healing and strength for my friend. And so, I’ve been experimenting working with such earth spirit statues. After sharing a few of my photos with friends, several suggested that I write about how I make these and how I use them ceremonially.  So today’s post, part of my cob building series, looks at the process of making earthen nature spirit statues all from simple materials found in your local landscape.  This is something that ANYONE can do, regardless of artistic skill.  So let’s get muddy!

 

Ephemeral Sacred Objects

In earlier posts on this blog, I worked with the idea of building nature shrines and sacred spaces of all kinds.  One of the things I often stressed as part of that work was not bringing things into those spaces that might be harmful or damaging to the land.  So I suggested natural things, things like shells, stones, wood, bones–things that you gather yourself, from the land, and allow to return to the land.  Or I suggested things that would easily return to the land, like wood burned object, hand-dyed natural fibers, etc. These will break down quickly due to the elements, but that’s exactly the point.

 

Many earth spirit statues

As I have talked about over the last few weeks, Cob is a natural building material made of clay, sand, and straw.  When you make something from Cob, it’s not fired.  It will not hold up to water. It will break down in the snow, wind, rain, and ice. Why, then, would you make statues out of cob if you know they will break down? First, because there is a magic in impermanence, magic in the making.  When you know something is only going to be a certain way only for a short period of time, it holds additional value.  For example, when my strawberry patch starts to produce the best-tasting strawberries, I know there is a short window, maybe 2 weeks, where I get to enjoy them fresh from the plant.  The rest of the year, I might enjoy preserves, but never that fresh succulent strawberry right from the vine.  Sacred objects can be like that too–an object you carefully construct, with the full knowledge that it will be broken down, creates a different kind of relationship. A sacred relationship based on the immediate moment. Creating these statues asks you to be in a place for this moment in time, to simply be present, making these, working with the cob between your hands. Letting the natural objects find their own shape and in their own time.  And not rushing it.   For there is much magic in the making.

 

There is magic in the making, and there is magic in the placing. An earthen spirit statue’s goal is to return gracefully to the land.  If you want, you can work slow magic with these, on nature’s time and at nature’s pace, as part of this work.  Almost all of my earthen spirit statues are used for the purposes of land healing.  As I shape them, I speak my healing words into them, I work healing energies through my fingertips. I sing, I chant, I smile, I laugh. I put the energy of life and light into my statues. And maybe when they are done, I put some more into them ritually, adding the powers of the elements and the sacred animals of the druid tradition.  Then, they become like little healing shrines all to themselves.  Carefully wrap one and put it in your backpack while you are on a hike, leaving it in the nook of a tree.  Place one on a stone in a stream, knowing the floods will carry it away.  Bury one in a snowdrift in a logged forest to offer peace to the survivors.  Offer one to your local lady of the lake.  Place one in your garden to nurture your plants to grow, letting it become soil you will plant in.

Gathering Materials and Decorations

There are two parts to an earthen spirit statue.  Natural items, such as feathers, leaves, sticks, stones, nuts, roots, seeds, and more are one of those parts. Take a small basket into the woods, beach, bog, desert or whatever is near you.  Walk intentionally and slowly, letting small bits of nature speak to you.  If they call out, pick them up, and leave an offering in thanks.  Once you have a good selection to work with, its time to make your cob!

 

Making Cob

And so, let us put our feet and hands into the earth and make our cob! For an introduction to our delightful material, you should look at the introduction to cob construction here, and how to make cob here. I will also offer basic instructions here, as they differ slightly from the instructions on my introduction to cob page. In a nutshell, cob is a combination of clay, sand, and straw.  This combination, in the right amount (1 part clay/silt to 2 parts sand) makes a perfect material for building earthen spirit statues.

To make your cob:

  • Dig down to the subsoil (see here for more details).  Fill up part of a wheelbarrow (1/2 or so).  Screen it, removing any rocks, sticks, or other debris.  The goal is to have just clay, sand, and straw.
  • Put your material on a tarp.  Make a well in the center of the soil, and then, add water.  Mix with your feet, putting your prayers, energy, and love into that material.  Dance with the spirits as you dance on your cob.  Take a side of your tarp and flip the cob, adding more water to make a good firm dough consistency.
  • If you want extra strength, you can add a bit of fine straw.  To add straw, take your scissors and carefully cut the straw up into 1/2 in pieces or less.  then sprinkle it through, working it in with your feet.
  • Pick up some of your cob.  It should hold its shape well and you should be able to work it.  Add more soil if its too wet and more water if it’s too dry and crumbly.
  • The goal is a nice firm but doughy texture that will hold its shape and that you can form.

 

Goose blessing of my cob

Make Your Statues

Make your statues however you see fit.  the easiest way is to create a cylinder by rolling the cob in your hands or on a solid surface. Then, find the natural objects you want to include.  Press them into the cob, shaping it as you go.  Stick some sticks coming out of it, shells, or dried turkey tail mushrooms (or similar small polypore mushroom). Let the objects speak to you, and let the clay speak to you. Make no thought if it is “good” or “right”; refrain from any value judgments. Your goal is to channel the spirits of nature, and they are not concerned with the physical vessel you are creating.  Don’t fuss over it.  Let it be complete, and make another.  And another, and another, until you feel you are done.  As you make, laugh. Get muddy. Sing to the statues, drum.  Call for the sacred powers of nature who might aid you.  Put happy, healing, and light energy into your work.  Let go.

 

Bless your statues

If you feel the need, you can do an additional blessing for your statues.  Draw upon the power of earth, air, fire, and water, and give a blessing to them–smudge them with incense, drip some beeswax on them or hold them to the flame.  Give them some water drips, smear them with soil.

 

More earth spirit statues!

Place your statues

Find a home for your statues in the nooks and crannies of the landscape.  They want to travel, go somewhere, send their healing energy out as they begin to break down. Put them in unconventional places.  Put the in places in need of light and healing.  Put them on nature shrines.  Put them in your druid’s anchor spot. Visit them and watch them break down, or leave them never to return. You can put one on your altar for a while, but make an agreement between the two of you how long it will be there so that you can return it at the right time (these energies are meant to move between you and the land freely). There is no right or wrong path, just you, the spirits of nature, and how spirit moves through you.

 

Building with Cob, Part I: Project ideas and Honoring Earth September 1, 2019

Making some cob!

Connecting with the earth can mean a lot of things–and today, I want to talk through how to create a simple building material that can be used for a wide variety of purposes: cob.  Cob is an ancient building material that is a combination of sand, clay, and straw (or other strengthening materials) mixed with water. Cob, the synthesis of water and earth, becomes the passive forms through which we shape anything from a small earth oven to a whole living space.  In this post, I’ll introduce cob and offer some different kinds of projects that you can do with it. This post compliments last week’s post, where I shared how to make ecobricks from waste plastic materials.  Cob is certainly one of the more sustainable and local construction materials to use in conjunction with ecobricks, so I thought it would be a nice time to introduce this as well.  I’m also going to be doing a variety of cob projects on the homestead in the next few years that I will share about, and thus, it is useful to have this introduction first!

 

For many years, when I was studying natural building and various kinds of sustainable living at Strawbale Studio in Michigan, I offered a series of posts on natural building topics and rocket stoves. This post continues that series, and I am delighted to revisit some of these construction techniques. This post will serve as a basic introduction to natural building with cob–for more resources, there are books and classes (I’d highly suggest one of the internships at Strawbale Studio for a hands on experience!) Today’s post covers the preliminaries for cob building – what cob is, the kinds of projects you can make with cob, and the spiritual implications of learning to work with this amazing material. Next week’s post will show you how to test your soil and make cob.  Once I finish it in a month or so, I will also show the cob/cobblestone build a simple passive solar greenhouse heatsink wall.

 

Connecting to the Earth

Cob is the combination of sand, clay, and straw that has been used as a building material throughout the ages.  It is a most ancient building material, an ancestral building material.  It is always a local resource that reflects the different qualities of the earth in that location. It has been created by humans for thousands of years (if not longer), and is used in a number of building techniques, including adobe construction, waddle and daub construction, strawbale construction, and much more. In fact, nearly every temperate or tropical non-industrial culture has created their own version of cob in some capacity. This is a building material that is right from the land, created with our bodies in perfect harmony with the living earth.

 

In modern industrialized cultures, we often live in and build structures in opposition to the land. These structures almost always ignore basic things like sunlight, wind, or other weather patterns that would make heating and cooling them more effective and instead, rely on unsustainable fossil fuel burning to make them comfortable.  We live in houses full of toxic substances: the materials were toxic to the land and her peoples (human or otherwise) during extraction, toxic during their production, and they will be toxic when they are destroyed and put in a landfill. Our homes, structures, and building materials are thus in a constant state of disconnection from the living earth.  I think its hard to live that way, even subconsciously, and not experience some disconnection as well.

 

Cob offers us one path, of many, back to more nature connection.  Learning some cobbing and other natural building skills can help us connect with the earth, honor the earth, and learn some of the deeper mysteries of the land.  We can reconnect with the wisdom of our ancestors, who built shelters and homes right from the land aroudn them.  Learning to make cob, even through small things like making cob candleholders, allows for that deep, ancestral connection.  There is nothing as satisfying as communing with the earth, digging up some of her subsoil, sifting it, and stomping it with your bare feet to mix it into something that you can use to create virtually anything!   The mud between your toes, the weight of the earth, the shape of it in your hands–it is empowering, it is connective, and it is soul-filled.

 

Making cob and building with cob (also known as “cobbing”) also offers powerfully to the druid elements (which are explained here): particularly, the synthesis of gwyar and calas. You can also think of cob through the classical elements: the passive elements of water and earth are combined to build structures which heat, shelter, and allow us to cook meals, and so on.  It is an incredible and beautiful way to learn to live more in harmony with nature.

 

In the 21st century and the age of the Anthropocene, I think we need multiple pathways to find our way back to the cradle of the earth.  To a place of connection, or re-connection. Of learning that the earth, right under our feet, and the living things around us can truly provide all of our basic necessities for life.  This is a lesson that humanity has forgotten in the century+ past industrialization, but it is time that we begin to learn this lesson anew.  And for some of us, this lesson comes in the form of learning to build as our ancestors did–of using materials right from our land.

 

What are the benefits of working with Cob?

The Strawbale Studio - Cob/Strawbale with Thatched Roof

The Strawbale Studio – Cob/Strawbale with Thatched Roof

Local and sustainable sourcing, ethical building material. Because cob is locally sourced, it is an extremely sustainable building material. If you have the right kind of sub-soil, you can literally dig it out of your land and make it right there. Some sub-soil may require off-site amendments, depending on the nature of your soil (see soil tests, next week’s post). Cob comes right from the earth, and can return right to the earth, with minimal to no ecological impact. For example, in digging my hugelkultur beds, I replaced hard packed clay with large amounts of wood, plant matter, and compost–and the clay that was removed from those beds was piled up nearby, ready to be turned into cob.  Now I have a giant pile of subsoil that I am slowly using for new cob projects.

 

By comparison, modern construction materials are just awful from an environmental perspective. For example, the production of concrete is the *third largest* producer of C02 in the world! The link in the last sentence shows at how many different stages the production of concrete is linked to C02. Yes, concrete is more permanent than cob, but it comes with serious disadvantages.

 

Endless possibilities for construction. The possibilities of building with cob are endless! You can build earth ovens, chicken coops, candleholders, and even whole living structures. About 10 years ago, strawbale/cob construction was listed in the International Building Code, which makes it easier to secure the necessary permits in places that require them. Most of the “finished” photos in this post are from the Strawbale Studio, built by my natural building mentor, Deanne Bednar.  In addition, unlike many conventional building materials that require squares and rectangles, cob also allows for amazing amounts of versatility and creativity.  Unlike regular structures built with straight lines, cob allows for flowing curves, circles, spirals, and many unique features. Thus, many natural building projects are flowing, curvy, and fun.

 

Accessible to everyone. If you didn’t grow up “handy” or had someone to teach you, traditional construction may be inaccessible–both because it requires a lot of specialized knowledge and also because it requires multiple kinds of expensive tools and supplies. By comparison, cob construction can be taught to anyone, including children. In fact, cob allows us to build things right from the land, on the land, with minimal hand tools and no fossil fuel demands. It is perfect for group settings, schools, and other places where people want to join together to do something fun.

 

The inside of Strawbale studio with curves and beautiful features

The inside of Strawbale studio with curves and beautiful feature

Building with cob is “slow” and “meditative.”  Taking fossil fuels out of the equation requires a different kind of time commitment. Fossil fuels allow us to radically increase the speed at which things are done, but not the quality by which they are done.  Cobbing allows us to slow down, to re-attune with earth’s rhythms, and to have fun making something magical with our own hands and feet!  This is “earth time” and requires us to simply embrace the experience. Creating and working with cob is not done on “fast time” but represents a very slow and meditative process.  I list this as a benefit because I truly believe it to be so–by attuning with the earth and her building materials, we are forced to slow down, breathe, and be a participant in the process.

 

Can be combined with other sustainable practices. Cob is but one of many different techniques that can be used to build material. Timber framing, ecobricks, thatching, passive solar, rocket stoves/energy efficient heating, and shingle making from wood are just some of the strategies that align with these approaches. A rich universe of knowledge awaits you down this path!

 

Example Cob Projects: Rocket Stoves, Ovens, and Structures

One of the first considerations when thinking about a cob building project is matching the cob project to your climate. In arid climates where there is little rain, cob can be out in the sun and elements unprotected with minimal damage. In temperate climate with lots of rain, sleet, hail, and snow, special considerations are needed to protect the cob from the elements. In particular, cob designs need to have a “good hat” and “good feet.” That is cob projects are required to have some kind of protective structure that prevents the cob from getting wet–even with a finish plaster, it cannot stand up to the regular elements for extended periods.  A good footer,  usually made of stone, is what you rest cob on (so that it can’t wash away). This is one of the big differences between concrete and cob. Concrete is designed to stand up to the elements for years–but it also means that it will not return easily to the earth. Cob requires more TLC with regards to the elements, but is perfectly fine when designed correctly. As you see some of the examples of cob projects, you will see the use of the good hat/good foot design!  With this in mind, let’s explore some of the wonderful projects you can do with Cob!

 

Cob Ovens for Pizza and Baking. A staple in the cob world and a project that can be complete over several weekends is a cob baking oven for pizzas.  This is a good beginner project for cob, and there are lots of designs and resources online and in print.  I’ve built a few of these and have also had the pleasure in cooking in them!  The pizza that comes forth from them is amazing.

A cov oven at Sirius Ecovillage

This first photo is of the cob oven at Sirius Ecovillage (where I was blessed enough to do my permaculture design certificate in 2015!).  I love this oven because it has a well-designed structure that lets light in, it has beautiful artistry of the oven outside, and it produces quite tasty food!

 

Cob oven with fresh mushroom pizza

Earth Oven at Strawbale

This second oven is located at Strawbale studio.  While this oven was built before my time there, I was able to help repair cracks in this oven and bake in it on several occasions.  This oven did not have the optional stove pipe (like the first one did) but it still worked great.  In this case, the venting of the heat and smoke just come out the front. Notice the “hat” and ‘feet” of this design. The first photo shows some handmade pizzas with fresh foraged mushrooms we made and enjoyed as part of a workshop!

 

A Cob Rocket Stove or Rocket Mass Heater: Cob is excellent at transmitting heat (or cold) and because of that, it makes an excellent material for a rocket stove or rocket mass heater. There are lots of different designs for these; some years ago I detailed one rocket stove using a cob mortar here that I built with a group of others at Strawbale Studio. Other designs include indoor ones that are designed to heat larger spaces, like this other indoor heater at Strawbale.  This cob bench works on the principle of heating bodies, not spaces, so it radiates heat out.  It takes a long time to heat up (about 4 hours, as the cob is 4″ thick in most places) but even after the fire dies out, it will stay warm for many hours.

Indoor rocket mass heater

Indoor rocket mass heater at Strawbale Studio

Rocket stove with cob mortar

Rocket stove with cob mortar

Larger Structures: Buildings, Walls, and More: Cob projects can become any size you are willing to work on–up to full size houses, saunas, chicken coops, and more. Strawbale Studio has a lot of such examples of these kinds of structures. One of the keys to thinking about larger structures is that cob transmits heat or cold really well–this means that a stove will move heat outward. However, uninsulated cob walls will quickly turn into a freezer in winter–this is why cob is often combined wtih strawbale construction for strawbale’s insulation properties in temperate climates.  Cob on its own has no insulation and will move heat or cold through it.

Hobbit Sauna

Hobbit Sauna tree (this is a tree I designed and created for the sauna with help from my friends!  Here, the tree is drying after working on it for two days. This was done during my last visit to Strawbale Studio in 2017!)

 

In Greenhouses and as Heat Sinks.  My current in-progress cob project (which I should finish by the end of Fall 2019) is a cob/stone wall for the back of my greenhouse.  I am doing this project in my small repurposed carport greenhouse. All greenhouses have three sides that allow for light and heat to enter (east, south, and west).  The other side of the greenhouse, north, never has direct light or heat coming through it, and thus, it is better to insulate it than to treat it like the other three walls. Because cob is an excellent conductor of heat, I am using the wall as a heatsink. This will be useful for any sunny day in fall, winter, or spring where the sun heats the greenhouse up considerably but the temperature drops a lot in the night (in summer, sinking heat isn’t a problem!).  I’ll share this design in a future post.

 

Cob benches and smaller structures. Cob is also used for a variety of smaller structures, such as cob benches. These can be done indoors or out. I haven’t yet worked on one of these projects, but you can see nice examples here.

 

That’s it for today–in my next post, we’ll look how to test your soil for an appropriate mix of clay and sand, mixing cob, and doing some basic construction (in this case, my cob greenhouse wall). May your hands ever be in the earth, may your heart ever be full, and may your spirit ever be inspired!

 

Plastic Waste into Resources: Exploring Ecobricks as Building Tools August 25, 2019

As I described in last week’s post, at least here in the US, we have serious challenges befalling us with plastic recycling along with a host of waste plastics that can never be recycled. A recycling infrastructure built almost exclusively on exporting masses of “dirty” recycling to China now has the recycling system here in the US is in shambles when China stopped taking recycling. Further, so many plastics simply can’t be recycled, meaning that even well meaning folks who recycle everything they can still end up throwing away enormous amounts of single-use plastics, packaging, film, and other waste. In permaculture design terms, it is time to turn some of this waste into a resource!  So in today’s post, I’d like to explore the concept of making ecobricks as a way to sink large amounts of un-recyclable waste into a productive resource and share some designs and ideas for using ecobricks for building projects.

 

Ecobricks, also known as Bottle Bricks, are a concept that has been growing in popularity, particularly in developing nations who are awash with plastic.  When we have plastic literally filling up oceans, streams, and communities, communities start looking for ways of dealing with that plastic–and ecobricks are one of the solutions that everyday people are creating. In a nutshell, you take a plastic bottle, fill it with unrecyclable plastic, and use it as a building tool for all kinds of projects.  If combined with other kinds of sustainable building techniques, like Cob, it is buildling tool can be used again and again, in the event that the original thing you built you want to dismantle.

 

Why are Ecobricks a spiritual and sustainable practice?

Ecobricks present multiple kinds of “solutions” and benefits.  Before getting into the specifics of how to make them, I want to share these benefits.

Accessibility and empowerment. The first thing I really like about ecobricks as a sustainable solution is that they are easy enough that anyone can make them.  And everyone has access to the basic materials (which are all free, and all considered waste).  Even if you choose not to use ecobricks in your own project, there is a global network of people who are making them to contribute to community projects (see more at grobrick.com).

 

Raising awareness and raising plastic consciousness. Saving up the plastics for ecobricks (and seeking out additional plastics) helps shift one’s own awareness about the proliferation of plastic.  New studies have recently demonstrated the serious toll that plastic is having in the world, from drinking water to oceans to our own bodies.  By treating it as a resource and changing your relationship to plastic, it helps you raise your own “plastic consciousness” in terms of both how much plastic you consume, but also, how much would get thrown away if you weren’t creating ecobricks.

 

Magic and intention. Making the ecobricks has a deeply spiritual side, a kind of sacred action.  Because it takes a long time to make ecobricks, as you create, it becomes a kind of meditation.  As you push the plastic into the brick, you can meditate on the world you are creating, rather than the world that created that plastic.  You can write on the ecobrick your hopes and dreams for the future, as many people do all over the world–these then become a way of doing both inner and outer alchemy through the transformation of waste plastic into a resource.  The brick making becomes a magical act to help us create a different future.

 

Accountability. When it comes to plastic, people in privileged places often have an “away” mentality.  Thus, our goal is to make the plastic go away as soon as it no longer serves us. Plastic packaging is wanted till the plastic is out of the package–then it needs to go away as fast as possible.  Recycling allows it go away (at least mentally).  But the truth is this: no plastic ever goes truly away.  We are each personally responsible for the plastic we create demand for: from being willing to purchase plastic products to forgetting one’s reusable grocery bags and asking for plastic, that plastic is now yours.  Ecobricks allows us to take a personal responsibility for plastics.   And responsibility changes our relationship not only with the plastic, but with the land, who suffers too often from humanity’s plastic addiction.

 

Ecobricks as a Transitioning Technology. Obviously, plastic is not sustainable–the very opposite. We know that plastic, out in the ecosystem, causes serious concernes environmntally and for the health of all beings.  A lot of people are moving away from plastic, into zero waste lifestyles, and really evaluating the plastic in their lives.  Ecobricks are a transition tool–the more plastic you are able to lock up in ecobricks, the more you don’t allow back into the environment.  This page explains this concept more in depth.

 

I hope that the above is enough to convince you that this is a great possibility for your own plastic!  Now let’s take a look at how to make the bricks and what projects you can build with them.

 

Making an Ecobrick: Step by Step Instructions

The process of making an ecobrick simple, and I’ll walk through it step by step.  First you gather up your materials.  Since I’m working on a “big project” that will probably require several hundred bricks, I’m being really methodical about it.  I keep every bit of non-recyclable plastic in plastic bags and keep these near the recycling, compost, vermicompst, and trash in my home.  Thus, there are now five options: vermicompost for coffee grounds and food scraps, compost for any other organic material, recycling for regular materials that can be recycled, and the ecobrick station for everything else.  This means very little goes in the trash! I also am prepared to gather up any excess plastic in other locations that I frequent–my workplace, places I hike, etc.  I’m also in the process of recruiting friends and family to help me create more ecobricks or, at the least, save me their plastic for me to create more.

 

In this first image, this is a collection of a about a month of saving plastic from the sources listed above.  Into my wheelbarrow goes everything from: unavoidable one use plastic (such as straws, plastic silverware), twist ties, bread bags, styrofoam, plastic baggies, plastic packaging, films, wraps, and so forth.  I gathered a lot of this from my workplace and also as trash along the side of the road or in the woods. Once you start collecting, you’ll be surprised how easy it is to collect and how quickly you can gather enough for one brick.  For example, a local picnic used 15 plastic tablecloths, which I gathered up and stuffed into a brick, making almost one full brick from that single picnic!

Here are two more photos of some of the selection from my most recent ecobrick making time: some food packaging that isn’t recyclable from bread, quinoa, and avocado, just to give you an idea:

Unrecyclable plastic avocado bag with preening goose in background

The world is full of this stuff!  You can find it at your house, at your work, littered in parking lots, in the woods, at the beach…you get the idea!

Once you’ve gathered your supplies, you will also need some 1 or 2 liter soda bottles.  If you don’t produce them yourself, a walk down the street of any urban or suburban area on recycling day is sure to produce many for you!  Or just ask people you know who drink soda. I usually store these in the same box I am gathering up my materials.

Goose inspection of my bottles

I usually gather stuff up for a while, and then make a few ecobricks at the same time.  Once you hvae your material, you can begin stuffing your bottles. You might want to include some nice colored plastic on the bottom of your bottle. The reason you might want something nice colored is that when you build with them, if you choose to let the bottoms be seen, you can have different colors! Certainly, you want something soft so you can stuff it into the cracks, so don’t use any hard plastic for this purpose.

Bottom of bottle

The technique is very simple, however, there are a few tricks to make really good bricks. First, you want a stick or dowel rod so as you get almost full, you can shove it down and keep stuffing further.  Ecobricks need to be carefully compacted without much give or when used as a building material, a poor brick can compromise the structure. Stuffing the bricks as full as possible and using some muscle to push down the brick is necessary. Sometimes, larger materials can be twisted into the bricks. Other times, I’ve found I have to cut them into smaller pieces to have them fit (especially true for thicker plastics).

Stuffing an ecobrick with Widdershins’ supervision

 

Twist method for a plastic bag

Fill up your ecobrick with plastic, stuffing down with the stick several times as it gets full. When you can’t add any more and the brick is firm, you can finish it by adding a cap. Your brick is done!  If you want, you can register it at GoBrik.com and it will keep track for you of how much plastic you stored and how much C02 you saved.  You’ll also get a brick number label and you can contribute your ecobrick to any number of ecobrick projects (or start one of your own).

Three recent ecobricks!

I have found that each ecobrick takes maybe 20 minutes to make, once you sit down and do it.  I usually only make 2 at a time because it takes a lot of muscle to make them!   They also take a lot more plastic than you would think–the last few I made, I counted and they took between 35-50 distinct pieces of plastic, depending on the size.  You can also invite others to gather up their plastics and come over and have an ecobrick party!

 

 

Travel Ecobricks

What is fun about this process is that it has been deeply empowering.  Rather than lamenting each piece of plastic I threw away that wasn’t recyable, I’m now seeking out waste plastic for my bricks.  For example, during a recent trip to Lake Erie with friends we had a few opportunities to do some beachcombing.  I was picking up plastic all over the beach and stuffing it in a found 2 liter bottle, which I brought home.  While I used to pick up trash only to recycle what I can and throw the rest away, I now can lock up that plastic in a brick that will be a resource.  Just this past week, I had a picnic lunch for work as part of our opening year activities and I gathered up everyone’s waste straws, plastic bags, and chip bags for my brick.

 

There’s lots of ways to easily collect plastic. Take an empty 2-liter bottle and a dowel rod with you when you go anywhere or anywhere you might spend time that generates plastic. A small one can fit in a purse or bag, even.  Thus,  I now have an ecobrick in my car, I have one at my workplace, I have one in my purse.  I recently went camping and took one with me (and finished it in one weekend by collecting plastic out of the woods!) I am now handing out sticks and bottles to friends and family, and asking them to make them for me (yes, I need a lot for the project).  For Lughnasadh recently, we had a grove event and the grove helped make part of a brick.

 

What I love about this is that everywhere I go, I am leaving the world a bit better by collecting that plastic and putting it to a productive use.

 

Building Projects

There are great resources online that share different kinds of things you can do with the eocbricks.  People make walls from them, benches, raised beds, furnature, even whole structures!   Pintrest has a number of excellent boards where people are sharing ideas for using ecobricks, such as this one!   

My long-term plan is to create an outdoor kitchen using ecobricks, which I am estimating will take at least 100 ecobricks in total. The ecobricks will help me create the basic surfaces on which I will build a cob oven and will also help build counter spaces and benches.  Ecobricks, combined with cob (a natural building material of clay, sand, and straw) and with a good roof, will create a long-term structure that will offer us many years of use–for druid grove events and simple family meals! Ecobricks will be part of the entire kitchen, and I estimate that I will need at least 100 to complete the project!  Here are some of my initial plans.  Some of these things I’ve had the opportunity to build before, but others are new!

Outdoor kitchen plans

Cob oven plans

 

In terms of how to build walls, seats, and more, two such videos that offer a good introduction:

 

 

If you plan on making some ecobricks, please share your ideas and plans here!  I would love to hear of anyone else who has a project in mind.  Blessings!

 

Foraging for Pigments from Local Rocks: Making Watercolors, Oils, and Egg Tempera Paint from the Land! May 12, 2019

Local Iron Oxide taken from a mineral spring, crushed, ground, sifted and made into paint!

Local Iron Oxide taken from a mineral spring, crushed, ground, sifted and made into paint!

When I walk along the landscape here, I am greeted with the deep oranges and yellow oxides of our soils laden with heavy amounts of clay and iron.  These colors are reflected each time I dig into the subsoil, and as I drive through the countryside where mountains were cut through for roads. In other places, I might be greeted with reds, blues, or greens, all reflected in the geology of the land. Each region carries its own colors, and you can find the palate of the land in every stream bed.  Even an hour drive in any direction puts one in a new geological region–and this changes the colors of the stones and the soil.   You might think about these colors like a language–each landscape has its own language that you can learn to read and speak. Each landscape has its own unique set of colors, found in every stream bed. Today, we can think about expressing that language in visual form.

 

In today’s post, I’ll talk about how to forage for local pigments and learn how to grind them and prepare them as paint. That’s right, you can make your own paint from locally foraged rocks!  What is amazing about this process is that each landscape is unique: your own land’s palate will depend on the local geology.  As you forage for pigments and then turn them into your own paint, you know exactly what goes into the paint, where it came from, and you know that any paint water or other materials can return to the land. You might discover things only you, in your unique ecosystem, can discover!

Boney Dump iron oxide - my favorite pigment to date!

Boney Dump iron oxide – my favorite pigment to date!

 

Getting into Pigment Making

Everything is derived from nature, but in the 21st century, consumerism practices and “distributed by” labels often mask manufacturing processes which almost never tell us how something was made, where the raw goods came from, who produced it and under what conditions, or, what it even contains.  Art supplies are notoriously bad; labels tell us almost nothing about the pigments, and art supply companies are very tight lipped about how they produce their paints. You don’t know what chemicals are in your paint, unless they are *really* bad and carry a CL warning or other kind of warning label. These kinds of warning labels mean they are toxic to you and should be used with care: but no labels tell you about the toxicity of your products for the planet.  This means, in my art studio and in studios all over the world, people often have no idea what they are using to produce art with or what the environmental cost of those materials may be.  And for something like paint, paint water and paint byproducts often get dumped down the drain, making their way into local water systems. When I use commercial paint, I literally have no idea what I’m putting down my drain–and by way of my septic drain field–out into the land and local waterways.  Since our spetic field sits about 40 feet above a local (clean) stream, this is of serious concern to me.

 

Two finished paints: soot from my fireplace and iron from a local Acid Mine Drainage remediation site

Two finished paints: soot from my fireplace and iron from a local Acid Mine Drainage remediation site

Given these realities, as a serious practitioner of the bardic arts, I am always looking for better ways to practice my visual art that does not require me to consume, pollute, or create demand on fragile ecosystems. Before, I had played around with various natural arts, including making my own berry inks and dyes.  The berry inks and dyes are not usually lightfast, though, and can’t be taken with me in my watercolor palate. But most of the time, my artistic medium of choice is watercolor, so I wanted to learn more. After my favorite watercolor paint supplier no longer offered watercolors in the US late last year, I started researching alternatives.  One of the things I came across were tiny watercolor companies that sourced natural ingredients and charged quite high prices for their paint.  I was intrigued, and figured that if they could do it, so could I.  I wanted paints that were more sustainable and less questionable in terms of ingredients.  So this post will share some of my successes and ideas for how you can do this yourself!

 

 

Sourcing Natural Pigments

 

A stream bank behind the homestead where I have been gathering pigment stones. Acorn is clearly hard at work finding pigments....

A stream bank behind our homestead where I have been gathering pigment stones. Acorn is clearly hard at work finding pigments….after each flood, new stones wash up on the bank!

Natural pigments literally everywhere, and if you travel, you can find a wide variety of colors.  Most of these are colors of the earth; colors of soil and of sand and of stone.  Deep greens and oranges and the colors of sunrise and mountains.  Deep reds and browns, blacks, and grays. You can also get into other kinds of pigments (lapis lazuli has long produced blue pigment; malachite has long been used for green), but for our purposes here, I’m assuming that you are working to source things locally and are going to find stones in your ecosystem.

 

You can find pigments in a lot of places, but some places are particularly good.  Pigments can often be found in exposed edges of streams, rivers and lakes; the water will expose clay banks and stones, making it easy to find pigments. Around here, fabulous places to look are what we call boney dumps; these are old piles of rocks and other mine waste that have lots of different rocks on the surface. You can find some pretty neat colors in these places  (finally, a sustainable use for a boney dump!).  The boney dumps are particularly useful for pigments becuase they would set the mines on fire and somehow use fire to process certain ore; so you also get stones changed by fire (and fire can certainly change pigment colors).  You might not have these (and be thankful you don’t), but looking for other sites where earth and stone have been dug up or exposed is good (the exposed bank that was cut in for new construction, for example).  Anywhere that a lot of rocks are exposed is potentially a good site to pick up some pigment stones.

 

 

So many potential pigment stones from one trip!

So many potential pigment stones from one trip!

Because you want pigments that are easy to process, especially when you are starting out, good pigment stones are fairly soft.  You can sometimes tell a good pigment stone by rubbing it against a harder rock.  If it produces something that looks like paint or clay on the other rock’s surface, it is likely a very good choice.  You can see immediately what your pigment may look like. You want the consistency of the pigment to get quite fine.  Grainy rocks like sandstone can also be processed, but the processing is a lot more work and some you can’t get down that finely by hand.  Harder stones may be worth processing, especially if they have unique colors. Clays can make good pigments, but not always; you can dig them out, then let them dry, and then grind them up, removing any large or hard rocks. You have to really see which pigments work and which do not–some clays I’ve used have been wonderful, and others haven’t had much pigment at all and create a sloppy mess.  Each geology and ecosystem has something different to offer you, and it requires a lot of experimentation.

 

 

Other pigment opportunities also exist. Both soot and charcoal make great pigments, so keep this in mind if you are having fires indoors or out. Soot produces more of a warm black, while charcoal produces more of a cool black.  I harvested both from our indoor fireplaces. You can also make a “bone black” from burned bones, turned into charcoal.

 

A few years ago,  I visited a mineral spring and found loads and gobs of pigment flaking off the walls from the spring –I dried this and saved it in a tin for later use.  Recently, also, and what started me on this adventure, I was given a container of iron oxide from the Tanoma Acid Mine Drainage (AMD) Remediation site.  This iron oxide is what makes many of our streams, creeks, and rivers too acidic; a site like Tanoma creates pools and uses a process called tromping to help precipitate out the suspended particles, clearing the water before it goes back into the stream.  After the iron precipitates, it settles to the bottom of the pools; this can eventually be collected and used by local artists! And it requires very little processing.

 

Foraging for rocks at a local boney dump (where mine refuse is from 50 or more years ago)

Foraging for rocks at a local boney dump (where mine refuse is from 50 or more years ago)

Tools for Paint Making

You will need to gather some basic supplies for making your own paints from foraged materials.  While you can make a primitive paint literally by crushing the pigment between two rocks and adding some water or oil, the following supplies will help you create a more refined pigment that would be suitable for paintings. Tools for creating paints:

 

  1. A mortar and pestle, dedicated to this use. You don’t want to use a mortal and pestle that you use for grinding herbs or food; get a separate one for this.  Or you can use something else; two hard rocks from the land can also work great.
  2. A glass muller or other grinding agent  Again, this is not necessary, but most fine pigments need a final ground, and this works well.  if you don’t have a muller, other glass tools may work like the edge of a small round jar. The key is you want a wide, flat surface on the bottom of whatever you use as it grabs the pigment and binder and mixes it well.  This is the most pricey of the materials ($50-$90).
  3. A palate knife, cake decorating knife, or old credit card.  You need something to be able to scoop up the pigment.
  4. A slab of glass or granite.  You need something to spread your pigment out and mix the paints carefully.  Right now, I’m using a smaller granite slab that I’ve had in my studio for various purposes, but I want to use a piece of glass instead, and will get one when I can find something recycled.
  5. A very fine mesh sifter for sifting out larger particles.  This is really useful if you are grinding your own stones.  get the finest mesh you can find. I found a strainer with 0.2mm holes, and this produces a usable paint but for certain stones, may still be gritty. A strainer with 0.1 mm (called a 100 strainer) is even better.  Look for these with sides from a scientific supply.  It is possible to refine your pigment and separate out particles without a strainer through a water suspension method, but the strainer really helps.
  6. Containers for your paint and pigments (shells or containers for paints; jars for extra pigments).
  7. Googles, gloves, and a breathing mask.  Paint pigments are not good for your lungs, and you need to take serious precautions!

 

Materials for Paint Making and How Paint Works

In order to know how to turn pigment into paint, its helpful to know how paint works.  Paint consists the pigment (color), a binder, and usually things to extend the life of the paint or improve viscosity and flow.  A binder is what “binds” the pigment to the surface; if you used only water and pigment, the pigment would flake back off the page after it dried, and your paint wouldn’t last.  In other words, a binder helps keep the paint on the page.  Gum Arabic or Linseed or walnut oil, and egg yolk are common binders.  A lot of modern paints use chemical binders, so we want to stay away from that stuff.

 

Paint Supplies: Watercolors

Watercolors are made with a combination of gum arabic and honey; glycerine can be added as well to prevent cracking.  Gum Arabic is the most common binder; that which helps the pigment stay on the page.  Since its water soluble, Gum Arabic is a great choice for watercolors. Honey helps improve the viscosity and flow of your pigment, and glycerine helps prevent the pigment from drying out or cracking.  I am currently using honey and gum arabic in all of my homemade watercolors.  You can purchase 1 lb bags of gum arabic in powder form, which you can just mix up and store in the freezer.  This is really economical, compared to buying it already prepared from an art store.

 

Watercolors made from local slate gathered on a hike on Ghosttown Trail (a local rail to trail)

Watercolors made from local slate gathered on a hike on Ghosttown Trail (a local rail to trail)

I’m currently researching a more local ingredient than gum arabic.  I’ve read some old books that say you can use wild cherry sap, ground and dried, which makes sense as it is also water soluble.  Pine resins would not be an appropriate choice for this as they are not water soluable (but they have other uses). I’ll report back on the cherry sap once I’ve experimented with it, which will be over the summer once I am able to harvest and dry some.

 

Paint Supplies: Oils

For oil paints you’ll need linseed oil and melted beeswax along with your prepared dry pigment.  Walnut oil may be a more local choice for you, and it will work almost as well as linseed oil.

 

Paint Supplies: Egg Tempera

For this you’ll need an egg yolk, water, alcohol, and your dry pigment.

I want to note that you can also make your own acrylics, but acrylics are plastics, polymers, and those go right back into the ecosystem when you are done. The materials above are more naturally sourced and based and represent more traditional sources.

 

Preparing Your Pigments

To prepare your pigments, you will need to get them ground finely while not breathing in any dust. Connect with the energies of the earth during this process and embrace the time it takes to do this. I use the following approach:

 

1. Break up rocks into smaller pieces.   First you need to break up your rocks into pieces that can be finely ground down with a mortar and pestle.  I usually use a hammer for this and a plastic bag.  Break the rocks up as fine as you can using this method.   In my case, I am using a thicker bag that is non-recyclable (this is a bag that chicken and guinea fowl treats come in). This process gives this bag a bit more life!  Put the rocks in the bag and start the breaking down process. You should do this outside and if it isn’t windy, consider a breathing mask.  If the stones are particularly strong, you might want several layers of bag (or a thicker feed bag, old tarp, etc).

Rock breaking.

Rock breaking.

 

2. Grind the pieces down in a mortar and pestle as finely as you can.  After you get the pieces much smaller with the hammer, you can start to get them finely ground. I have a granite mortar and pestle of a fairly large size for this purpose.  I grind down the pieces, working in very small batches.  You can see this reflected in the photo below–I work with smaller and smaller batches as I work the stones down into a fine pigment.  Again, use a breathing mask and do this outside if you can.  Here I am grinding down the local slate stones a friend and I found on a hike.  You might notice that the color has changed from the stone to the pigment–that often happens!  Everything is a surprise.

Slate pigment at various stages

Slate pigment at various stages.  The pigments often are a slightly different shade than the rocks themselves.

3.  Sift.  Sifting is probably the most critical part of the paint–if you don’t have a fine enough strainer, your particles will be too big and your paint will be gritty.  The goal is to get the finest particles possible–below I am using a .02 mm x .02 mm sifter.   I will take whatever won’t go through the strainer back into the mortar and pestle for a while. You can sift multiple times to get a fine grind.

 

In this case, whatever isn’t sifted is put back in the mortar and pestle for more grinding.  You can also store the extras in a jar for the next time you want to make paint. I’ve been talking to other natural paint makers, and the grinding and sifting is really an art form in and of itself–some are easy to do, and some are quite difficult–depending on the stone. It all takes patience and can be a very meditative practice.

Sifting process with pigment. The larger pieces go back into the mortar/pestle for more grinding. The hardest part of this is not getting little bits over the sides of the sifter (I might add some simple "walls" to it at some point!)

Sifting process with pigment. The larger pieces go back into the mortar and pestle for more grinding. The hardest part of this is not getting little bits over the sides of the sifter.  Since taking these photos, I purchased two additional sifters that are even better than this one!

Another option if you can’t get your particles fine enough is to do the long route using water.  If you grind up a lot of pigment, you can put it in a glass jar with a lid (I use a 1/4 pint or 1/2 pint jar for this).  Shake the pigment up well, and then quickly pour off everything but the very heavy particles that sink to the bottom.  The lighter particles are suspended in the liquid; they will likely precipitate out to the bottom.  (If they don’t, some paintmakers use a bit of alum to help them drop out).  Otherwise, if you have a small amount of water, put it in a greenhouse, dehydrator, or other sunny location and it will dehydrate.  What you are left with is a *very* fine pigment, fine enough to be a high artist quality grade paint.  The heavy particles can be dried as well and further ground up.

 

Making Your Paint

For watercolor: Place your pigment in the center of your glass plate.  Add about 1 part Gum Arabic for every 2 parts pigment, and then about 1/8 part honey. Some paintmakers are also adding a drop or two of clove essential oil for preservation, but I don’t have any so I’m not using it at present.  You can pretty much eyeball this.  If the pigment is too dry, add more gum arabic.  If its too wet, keep working it and the air will dry it out in a few minutes.

Some tools for paint making: board, cake knife/palate knife, gum arabic, and honey from my hives

Some tools for paint making: board, cake knife/palate knife, gum arabic, and honey from my hives

Next, move to a muller or other tool that you can use to spread out and grind the pigment further. If you don’t have a muller, try something that can help grind the glass–like a flat glass bottomed jar. The muller is completely flat, and you can easily rub it over the surface to mix the pigment.  After you spread it out, use a palate knife to scrape up the pigment and use the muller again (see second photo, below).

Mulling pigment. This one doesn't have a fine enough ground, which is why you can still see some of the particles inside.

Mulling pigment.

This first photo doesn’t have a fine enough ground, which is why you can still see some of the particles inside.  If your pigment looks like this, it needs a finer grind and will be very gritty when complete.  You might need a finer sifter or to separate it with water.

What you are looking for is a very smooth grind.

The difference between these the above photo and this one is striking–and so are the results.  The second pigment here (iron oxide) has a very, very fine ground!

 

Here's the slate pigment--it turned into a pretty nice paint!

Here’s the slate pigment–it turned into a pretty nice paint because I was able to get a very fine grind and sift.  It still had a little bit of graininess to it, but works great.  A water separation or a finer sifter would have helped get the particles even smaller.

 

You may have to mull it for quite a while to get all of the pigment and binder together.  Usually 5-10 min. Once you see it as completely consistent, you can scrape it all up with a paint knife and put it in small containers to dry.

 

I have been using sea shells that I’ve had sitting around to put my paint in, but anything that has a lid (like an old Altoids can or lip balm can) would work just fine. I also had some empty plastic half pans I picked up at a yard sale, and I have also been using them.  If you want a full container of pigment, you usually have to make paint several times and add layers to the pans (as the pigment dries, it shrinks and cracks).

 

When you want to use your paint, rewet it and use it like any other watercolor.

A glass muller and grinding board with finished paint, scraped into containers board

A glass muller and grinding board with finished paint, scraped into containers board.  This is a fireplace soot paint.

 

For Egg Tempera, you will want a small jar.  Start by removing the egg yolk from the white.  Egg yolks have a sack that holds the inner yolk; break the yolk and remove the sack.  This is accomplished by either puncturing the yolk and letting it drip in, or simply fishing out the sack after you’ve gotten the yolk punctured.  Add a small amount of water (1 tbsp) and put a lid on the jar, shaking your paint until everything is mixed.  Now, place your pigment in the center of your glass plate or other non-porous surface.  Add small amounts of alcohol to your pigment, and grind it or use your knife or muller (see photos above).  Finally, add enough yolk water to you get to the consistency you want and grind it some more.

Egg tempera is best used within a week; without preservatives it will go bad fairly quickly.  I will keep mine in the fridge between uses.  I don’t make these very often, but they are nice for certain applications (like traditional folk painting).

 

For Oil Paint, The process for making oil paints is the same as above, only instead of gum arabic and honey, you are adding linseed oil and a small amount of melted beeswax.  If exposed to the air, oils will eventually dry out within a week or two (just like commercial oil paints).  A lot of people will purchase metal tubes so you can keep your paint in a metal tube, just like commercial producers do ,when making oil paints – as it would be hard to mix up a whole palate anytime you wanted it!

 

Using Your Paint

Once you have your paint made, you can use it on anything!  I like the watercolors best for this process because they don’t require special storage–you just dry them out into cakes, and then they can be used and rewet as needed.  If you get a fine grind, you can make watercolors and other paints even *better* than what you can find in the store: rich, inviting, and completely made by you!

Primal Water from the Plant Spirit Oracle; tan paint is from Tanoma Iron Oxide!

The Water Card from the Plant Spirit Oracle; The tan paint in the roots is from my own handmade watercolors: the AMD Iron Oxide–the first paint I made using this method!

 

watercolor swirl painting--all of the browns were from foraged paint!

Watercolor swirl painting–all of the browns were from foraged paint!

I hope this has been inspirational and informative. Now that spring is here, I am excited to see what pigments my landscape offers and do some western PA specific paints with this local and eco-friendly palate of colors!

 

PS: I will be taking several weeks off from blogging as I am in the final preparation for releasing my Plant Spirit Oracle deck, plantng out our gardens on the homestead, and attending the MAGUS druid gathering and doing some camping.  I’ll resume posting in early June!

 

A Fire and Smoke Ritual for Land Healing and Blessing May 5, 2019

A few years ago, I led a smoke cleansing (smudge) stick making workshop at the OBOD’s East Coast Gathering event. As that event often has upwards of 100 attendees, I spent months growing and harvesting materials for the event so that everyone could make 1-2 sticks.  Sure enough, everyone got to make some smudge sticks and the workshop went great.  After the workshop, one of my friends and event fire tenders, Derek, came up to me and asked me about the leftover materials.  I had been placing them in a paper bag, and had planned on taking them home to make more sticks or return to the land. He said, “I want to make a smudge bomb and send healing smoke to this entire land.”  I said, “Yes, what a great idea!” So we tightly bundled up the remainder of the material, which filled at least 1/3 of the paper grocery bag, and wrapped it with the same cloth string.  The next day, as the Ovates were meeting around the fire circle in preparation for ritual, he brought out the smudge bomb.  The previous night’s fire had been a particularly large one, and in the morning, it still contained the embers from the fire the night before. Derek carefully placed the smudge bomb into the glowing embers.  It worked just as we hoped: it smoldered and sent up a healing and blessing smoke into the surrounding land. And it lasted quiet a long time!  Ever since that experience, I’ve been working with fire in different ways to think about how we might use fire and smoke to bless and heal large spaces, and how we can also make offerings in thanks to fire, humanity’s oldest friend and companion.  Today’s post compiles some of those ideas, big and small and is a follow-up to my ancestral Beltane fire post from last week.

 

Altar with various bundles, getting ready to burn

Land Healing through Fire and Smoke: A Fire and Smoke Ritual  in Three Parts

Using the “smudge bomb” experience for inspiration, I developed a larger technique for using fire and smoke for land healing and blessing, creating specific ritual objects that are created in a sacred manner and then burned to send that energy, by way of smoke and wind, to far off places.  As I described in my earlier series on land healing, land healing comes in many forms.  Energetic healing or palleative care can be useful in situations where the land is actively under duress (which unfortunately describes many places on earth currently), where physical land healing (through permaculture, seed scattering, etc) is not an option. One of the challentes with land healing, particularly on a larger scale, is that you don’t always have physical access to the land you want to heal.  I do think that doing ritual directly on the lands you want to heal is most effective–but doing something else at a distance can be equally as effective if you have some good way of transmitting that energy.  Thus, this ritual technique is very useful for spaces, far and wide, that are otherwise inaccessible: around here that would be large swaths of logging, strip mines, polluted waterways, etc.  It is also very useful for healing more distant concerns: the plight of polar bears in the Arctic or deforestation in the Amazon, the oceans, or some other “far away” issue.  Or maybe you want to do land healing working for the entire globe. Thus, this technique is one that you can use to send healing and blessing energy to the lands nearby–or quite distant, using air and smoke as a carrier.

 

Smoke is often seen in today’s culture very negatively primarily because of our challenged relationship with tobacco: we have secondhand smoke, smoking as a harmful and life-threatening, smoke from wildfires causing issues, and  much more. And yet, smoke cleansing and blessing practices have been used throughout human history and in many cultures as a blessing and purifying agent (this link has a nice overview; this link is a study to over 250 plants used in smoke healing around the world).  In the druid tradition and in other pagan traditions, we use these practices quite a bit: through smoke cleansing (smudge) sticks, incense, using tree resins– smoke helps us call in and establish air in ceremonies and connect deeply with that element.  We often use smoke clearing, incense and similar such things on a smaller scale–but why not consider it on a large-scale for land healing or blessing?

 

Thus this technique has three parts.  Each of these three parts has both a physical component and an energetic component. The parts are:

1. Creating a bundle or object that will turn to smoke and bring that energy, through the currents of the air, to other places.

2. Creating a fire in a sacred manner and opening a sacred space.

3. Burning and releasing the bundle and directing energy.

(And then, of course, closing out your space and giving thanks. )

 

Part 1: Making Your Healing Bundle / Healing Object

Now, I’ll walk through some potential options for how to create your own healing bundle.  I am giving you options below to spark your own creativity, s.  Before we get into the bundles, I want to offer a few general principles:

 

  • *Everything* in these bundles should be all natural, coming directly from nature. This is because you are burning the objects, so obviously, you don’t want to burn something that pollutes the air.  So for example, if you are using string, it should be cotton, hemp or jute (string can be plastic), wax (use soy wax or beeswax).  Because non-natural materials can release harmful chemicals into the air, thereby rendering any particular healing work you want to do ineffective.
  • Like most magical workings, I think its less important the physical form it takes and more the intentions you bring with it.  Work with what you have and don’t worry about replicating what I have here–rather, create things from your local environment that speak to you.
  • Look for opportunities: a fallen conifer branch, a neighbor trimming a hedge of rosemary or hemlock, a huge number of pinecones, abundant material on your own land, etc.
  • At the same time, a larger size bundle certainly does give a good ritual effect, which is something you might want to consider.  Small ones work great too, but large ones burn longer, giving you more time to focus healing energies in a particular direction.

Three sample bundles: pine cone/herb bundle, wood burned oak slab, and bundle of sticks wrapped with prayers and sealed with wax.

There are two kinds of bundles you can make: things that are meant to smolder and things that are meant to burn. Things that smolder  are more traditionally used like incense on coals, and are designed to be added to existing coals or a slow burning fire.  Things that burn, on the other hand, are designed to burn when a fire is hot (and usually are wooden in some way).

 

Some Possibilities for Things that Smolder:

 

The Herbal Healing Bundle: This technique uses a bundle of aromatic dried healing herbs, very similar to the “smudge bomb” I described in my opening–a mix of carefully chosen herbs for their healing effects.  You can design a specific bundle for a specific healing purpose based on the herbs that you choose (see my list here).  I like to create these at the end of the season, when I’m clearing out my garden, and I have to cut plants back anyways.  This is also a great use of the stalks of plants; so if I’m harvesting sage, rosemary, wormwood, tobacco, and other plants, after I harvest the leaves, I am often left with a lot of stalk matter that I don’t know what to do with–and it goes in the bundle.  Any material (other than poison ivy) would work fine for such a bundle, but I think it’s particularly good with aromatic healing herbs that burn well–rosemary, sage, thyme, mint, scented geranium, wormwood, mugwort, etc.   For this technique, if you are using dried herbs, I suggest using a paper bag (which you can write your intentions on and then place the herbs inside) and wrap it tight with cotton string.  Depending on the nature of the herbs, you might be able to make your bundle without the bag, especially if you have a lot of long plant stalks, etc.  If you are using green/fresh herbs, you probably want to just bundle them without the bag using cotton string so that they will have a chance to dry out.  If you don’t grow your own herbs and/or don’t do wild foraging, this options probably isn’t as good for you as it requires a good amount of herbs and obtaining them may be more cost prohibative.  Never fear, there are many other options!

 

The Resin and Herb Bundle:  Conifer resins are a great addition to the herbal healing bundle; they smolder and produce a very good deal of smoke and last for a long time.  You can add conifer resins to a standard herbal healing bundle or use them on their own.  You don’t want to throw these directly in a fire; they are better off smoldering on coals.  You can also add conifer needles and branches, which will sometimes crackle and pop.

 

Pine cone bundle – this was for blessing the conifers of the land

Pine cone / Herb Bundle: Pine cones make great smoldering options, as they often contain a lot of resin in them.  I like to sprinkle my pine cones with herbs and then bind them together.

 

Shapes, Rings, and Effigies: Rather than putting your materials in a bag, you might instsead choose to shape some form–a wreath, for example, offers additional symbolism. Certain kinds of herbs and plants are obviously better for this than others.  An easy way to do this is to get a wooden ring started (see my instructions here for how I did this for a different project) and then from there, you can use cotton string to wrap dried or fresh herbs around the ring, layering until you have somehing you are happy with.

 

Things that Burn:

The Conifer Bundle: Conifer trees love to burn, and many of them have needles that are flamable, even when they are green and not dried out.  Eastern white cedar and other cedars, in particular, goes up well.  You can create a bundle of fresh or dried conifer boughs (or create a wreath or other shape).  This would be a good way to use up material from your Yule tree or else if you or a neighbor were trimming hedges of confiers, etc.   Bundle them up with cotton string and watch the sparks fly!

 

The Wax and Herb Bundle: An alternative to the large bundle described above uses beeswax candles wraped in herbs.  Beeswax will burn very brightly and leave off powerful light, and thus, is particularly good when you want to be bringing energy into a situation.  Take 1-2 beeswax candles (or a small brick of beeswax) and then layer the outside with herbs.  Or, you can heat wax up till its just soft, and then, roll herbs into the candle.  When you throw this into the fire, it will burn brightly and send energy outward quickly.

 

The Wooden Message Bundle: A final option is to use wood itself to fashion something–a bundle of sticks, wrapped with messages or healing words.  A wooden round with wood burning or natural ink messages, a wooden object bound together with string; a vine wreath with tucked in messages, and so on.  The sky is really the limit here.

Burning a Land Healing and Blessing Slab at Beltane

This first photo is for a simple healing for my own land; working with a wooden slab that I created and later burned ritually.  My own land was damaged through logging the year before I bought it, and I’ve been doing a lot of healing work here.  Burning this in a central fire helped send that blessing energy out to the land (and after burning it, to help further the intention, I did some cleaning up of a burn pile left by the previous owners that I had found a few weeks earlier).

Prayers for the world bundle

The second was a more in-depth bundle I created for holding space for species in decline and in danger of extinction and for ecosystems under direct threat. Each of the sticks in the bundle was a message that I wrote and tied to each stick; each stick became part of the larger bundle, which I sealed with wax. Each of these prayers were global in nature, thus, the smoke would carry the energy where it needed to go.

 

Part 2: A Sacred Fire

The bundles can be made anytime in advance of your fire ritual.  You can also make them together, as a grove or group of people.  To do your ritual itself, you can choose an aspicious day for your ritual (a full moon, a new moon, one of the wheel of the year holidays, etc).  I used Beltane for my most recent bundles–which are what the photos are of in this post.

 

If you can, I suggest building the fire intentionally and using traditional techniques (or in the least, not starting your fire with fossil fuels like lighter fluid–this is a healing ceremony, and using fossil fuels which are causing so much ecological damage sends the wrong signal and energetically, has issues).

 

Fire ready to accept healing bundles

Fire ready to accept healing bundles

Prior to starting your fire, I suggest that you open up a sacred space using whatever method you typically use (for druids, this might include delcaring peace in the quarters, calling in the four elements, saying the druid’s prayer, and casting a circle or protective sphere around the space). Once you’ve setup your sacred space, light your fire and tend it till you have what you need: good coals you can rake into an open area (for the smoldering bundles) or a blaze (for the burnables).

 

Part 3: Burning Your Bundle and Sending Energy Out

Once you are ready, place your bundle before you.  I like to do an elemental blessing of my bundle at the fire, blessing it with the four elements: earth, air, fire, and water, inviting those elements into the bundle to help with the healing work.  You could do other things here, for example, if you are a reiki practitioner, you could send some reiki energy into the bundle, etc.  You might also raise energy in the bundle in other ways; drumming a steady beat into the bundle also works great.

 

Burning the healing bundle–I let the fire go almost out, then I put it on there and it smoldered for a long time.

State your intentions for the bundle, and offer it to the fire.  Observe as it burns, watching it and seeing if you see any messages within the fire.  As it burns, you want to envision that energy going to where you want it to–that the winds take that energy to the places you wish it to travel.  This may take some time, and my suggestion is to hold space for the duration of the bundle burning and smoldering.  You might also do other things to help the energy get there: drum, dance, sing, etc.

 

Once you are done, close out the space, and if at all possible, allow the fire to burn out naturally.

 

The Druid’s Crane Bag April 21, 2019

A druid’s crane bag is a special bag, a magical bag, that many druids carry with them. Often full of shells, rocks, magical objects, feathers, stones, Ogham staves, representations of the elements, ritual tools, and much more, a crane bag is wonderfully unique to each druid! A few years ago, I shared a post about how to create a crane bag and a description of my bag at the time; today’s post revisits and deepens the treatment of this topic.  In this post, we’ll look at the concept of the crane bag and where it came from, four potential purposes for bags, and some tips and tricks for how to put them together and what they might include.  This is a wonderful part of the druid tradition that anyone, including those walking other paths, can enjoy!

 

My "ritual in a bag" crane bag, designed and created by me!

My “ritual in a bag” crane bag, which I recently completed. 

Crane Bag History and Purpose

The term “Crane bag” comes from Irish mythology.  In this mythos, Manannán mac Lir is a major sea god who is also the guardian of the otherworld.  One of his many treasures is a magical bag, known as a crane bag. As they myths go, he originally crafted the bag from the skin of a crane, hence the name. This wonderful, bottomless bag was full of many treasures: his knife and shirt, the shears of the King of Scotland, the helmet of the King of Lochlainn, the bones of Assal’s swine, a girdle of a great white whale’s back, birds, hounds, and other things.  His bag also contained human language, a powerful tool.  Some versions of the myths also suggest that the Ogham, the Celtic tree alphabet that is still in modern use, was also within the bag. In the myths, the bag’s treasures can be seen in the sea at high tide, but they disappear during low tide. In certain myths, the bag comes into the possession of Irish heroes such as Lug Lámfhota, Liath Luachra, and Fionn mac Cumhaill.

 

In the modern druid tradition, we are inspired by this mythology, and druids often create magical bags of their own.  A crane bag is not a singular thing, but as unique as each druid themselves: thus, the size, shape, and materials contained within the bag are up to an individual druid.  In the remainder of this post, I’ll show you various options for bags, styles, and purposes to help you develop your own crane bag.

 

Planning Your Crane Bag: Crane Bag Purposes and Options

Just as each druid’s path is unique, your crane bag should be an expression of you and your druid path. I think the most important consideration for your crane bag, even before we get into size, composition, or what goes into the bag is your purpose.  In talking with druids, particularly in the OBOD and AODA communities on the East Coast of the US, there seems to be three general purposes for crane bags: the ritual-in-a-bag approach, the power object bag approach, the field approach, or a combination of all three.

 

Some of the many things that can go in your crane bag

Some of the many things that can go in your crane bag

The Ritual-in-a-Bag.  The first approach to a druid’s crane bag is that it is a special bag that can hold all of your ritual tools. These tools, then, come with you wherever you go. For example, one druid I met at a gathering had a larger leather bag.  In this bag, she had her elemental representations, wand, a small sickle, and a small notebook. She indicated that anywhere she went, her tools could go with her, and she could easily break into “spontaneous” ritual with her tools at hand.  She also enjoyed carrying the bag to larger druid gatherings, thus, her tools went with her and also benefited from the energy raised at such gatherings. I have used this approach myself, and offer an example later in this article.

 

The Power Object Bag.  A second approach that seems common is to have a much smaller crane bag, one that is carried on your person frequently, or at all times.  Often, these will be bags small enough to fit in your pocket, around your neck under your clothing, or attached to a belt.  Contained within the bag are objects of spiritual significance to you–sacred stones, shells, sticks, herbs, teeth, bones, or whatever else is personally significant and powerful to you.  Those druids who I have spoken to who use this approach believe that you grow a stronger connection to the objects and bag the more the bag is physically with you. The objects, also, are able to lend you their strength, power, and protection throughout the day as you carry your bag.  A good friend of mine uses this approach; his is a small but ornate belt pouch that is always attached to his belt, and so each day, without fail, his crane bag goes with him.  It is with him when he works, hikes, drives, or whatever else he is doing.

 

The Field Bag. The third approach is creating a crane bag that will aid one out in nature–for this, you usually get not only objects of spiritual significance but also practical significance: land offerings, knives, folding saws, hori hori (an all purpose japanese gardening tool that is great for foraging and herbalism), bags, flint and steel or other fire-starting equipment, paracord, and more.  The philosophy behind this crane bag is that if you are going out in nature, it is useful to be prepared, particularly if you are interested in doing some wild food or medicine foraging, camp out for the evening, bushcraft, or other kinds of wildcrafting.  Thus, when a druid takes this bag with them, they are prepared for anything!

 

The Anything Goes/Combination Bag. The final approach uses a combination of all of the above–perhaps some items of personal significance along with a few ritual tools and a few tools to be out in the field.  My first crane bag, described in detail in my earlier post, uses this method (see all of the contents here). The benefit of this approach is that you end up with a multi-purpose bag that can serve a variety of needs.

 

Creating or Finding Your Crane Bag

My Crane Bag

My First Crane Bag: Repurposed secondhand find!

Today’s crane bags need not be made of crane leather, but can be made of any durable material: leather, hide, skin, linen, wool, cloth, denim, and so on. You can make your bag yourself, you can purchase it secondhand, or you can have someone make it for you. I do believe, in my conversations with many druids about their crane bags, that many prefer to make them, as it lends their own personal energy into the bag.  If you don’t make it yourself, find a special way of personalizing your bag.  For example, my first crane bag, pictured here, was a small denim bag with zippers and pockets that I found at a thrift store.  I personalized it by painting it with acrylics, and I am happy and delighted that the paint has held up for many, many years!

 

The bag can be large or small; however, you will want it large enough that it will fit your purpose and to carry what you would like it to carry (and think also about the future–what you might want to add to your bag at a later date). Depending on the size of your bag, it can be held or connected to a belt, cord, or slung across the shoulders and carried more like a traditional bag, depending on the size.  Most druids carry their crane bags into ritual (and around gatherings, if they attend), many may also carry them into the woods or other natural places, so it should also be something comfortable to take with you, particularly on long journeys or when you travel.

 

 

Items for Your Bag

Any item of spiritual or practical significance can go in your bag.  I encourage you to think about local ingredients, local materials, or those repurposed in other ways.  Many of the things in my bag are gifts from others or things that I found or made. Here’s a list of what I might consider essentials; these go in every crane bag that I have made or carry:

  • A small journal (Moleskine or other small journals work great for this). I never want to be out in the woods or anywhere else without my journal–this allows me to record my thoughts at any time. I especially appreciate this “old technology” as opposed to a cell phone for recording as I don’t think there is anything as disruptive of a sacred experience as pulling out one’s phone.
  • A few handy tools: I like to always take with me a lighter/matches, a knife, and a plastic or cloth bag or two to carry anything I find.  Even in my more “ritual tools” style crane bag, I make sure to have these with me.
  • Offerings.  I don’t go anywhere without offerings. I recently shared how to make a wildcrafted herbal blessing oil and  sacred herbal blend for offerings.  A blessed magic seed ball also makes a great offering. Anything you want to carry with you that you can offer is approrpriate.
  • Elements. As someone working within the context of both OBOD and AODA druidry, I find being able to work with the elements in physical form really helpful.  So I always have, in any bag, representations of each of these. They don’t have to be physical representations (fire, etc) but could be four small stones, woodburned images, and so on.  The sky is the limit!
Once I pull stuff out of my ritual-in-a-bag, I can make a beautiful altar setup for outdoor ritual work.

Once I pull stuff out of my ritual-in-a-bag, I can make a beautiful altar setup for outdoor ritual work.

 

Here is a much larger list that you might consider for including in your crane bag:

  • Rocks and minerals
  • Shells, corals, or sand (in a small bottle)
  • Plants, leaves, twigs, roots or pieces of bark
  • Herbs, oils, infusions, concoctions, tinctures, teas or healing brews
  • Seeds of all kinds
  • Feathers
  • Fur, nails, bones, claws, teeth or other animal parts (only those that are legal to have, of course)
  • Animal, plant, or spirit totems of any kind (for example, the small carved soapstone animals are a nice addition to a crane bag)
  • Divination tools, such as Ogham, runes, or tarot decks
  • Small musical instruments (like an ocarina, small flute, etc)
  • Jewelry or necklaces of significance
  • Tiny journals or books
  • A small altar cloth
  • Bags, jars, and other vessels for holding things (like collecting sacred waters, etc)
  • Ritual tools such as a small candle (a battery-powered candle is convenient when traveling), small sickle, knife, candle, etc.
  • Any other items with a spiritual purpose
  • Quarter stones (four or eight stones you can place at the circle to help hold the space)

 

Example Crane Bags: Druid’s Power Bag and Ritual in a Bag

I have three primary crane bags, one that fits each of the possibilities above.  My earlier post offered an example of an all purpose crane bag, so again, check that post out for photos.  I also have a regular backpack that I dedicate to foraging, but that has some sacred tools (the essentials) that will go with me on longer hikes.   I didn’t take photos of that one, as its not very pretty looking but is rather very functional.  But I did want to share examples of the other two: the druid’s power bag and the Ritual in the Bag crane bag.

 

The first bag is the Druid’s Power bag.  This is a small leather bag I made, and in the photograph, are some *examples* of what you could put in a bag.  I believe that the bag itself and the actual contents of a power bag should never be photographed, or really, even talked about.  This is a bag of sacred objects to you, and if you talk too much about it, you can talk the magic out of it.  So I am not showing you my actual contents, but I think this gives you a good example of what could contain and look like: natural items, small clay and stone statuary, beads, stones, jewelry, etc.  So in this photo we have some things people have given me, stones, stone animals, a bracelet, a ceramic bear, a painted pendant, nuts and seeds, and more.

Potential power bag with objects

Potential power bag with objects

 

The other bag I want to show today is the “ritual in a bag” crane bag. I have been working on this bag for six months, and I’m delighted to have completed it to share with you.  The goal of this bag was simple: I do a lot of ritual work outside, right on my land or in a nearby state park. What was happening is that when I needed tools, I’d put them in a basket from my altar, but the tools were quite heavy and bringing them back up the mountain on my land was a problem, and carrying them into the woods at the state park was even more of a problem (it isn’t fun to carry four large ceramic altar bowls!)  Further, when I have friends that visit, we often go into the woods with sacred intent, and I wanted a bag that I could literally just ‘grab and go’ that offered me everything I needed to do a nice ritual with the bells and whistles. I’ve also been working hard to improve my leather working skills, so this bag was also a challenge to me as a bardic practitioner. Finally, I wanted my sacred plant allies to be with me with the energy of the bag.  I wanted it small enough that I could put it in my foraging bag and still had room for other tools.

Hawthorn and elder each are on a pocket on the front of the bag, behind the flap

Hawthorn and elder each are on a pocket on the front of the bag, behind the flap

The leather bag itself I designed and put together.  I used leather tooling and then a leather acrylic and acrylic sealer on the bag itself, which I hope will last over time (we will see!)  This brought beauty into the bag and helped imbue my own energy with it.  On the bag, I have some of my most sacred plant allies: wild yam (on the edge of the strap), ghost pipe, hawthorn, and elder.  These are all plants I regularly work with and who are local to my ecosystem.

Another shot of the bag

Another shot of the bag

Inside the bag, I have everything that I need for a ritual.  This includes five copper bowls (I purchased these on Etsy from a regional craftsperson; they are great because they are super durable and light).  Four of these are for the elements and the fifth is for offerings or other purposes.  When I’m out in the woods, I usually fill the air bowl with sand or soil, then stick an incense block or cone in it.  The fire bowl gets a little candle (with jar, otherwise it will go out), the water bowl gets some local water, and the earth bowl can be filled with soil, rocks, nuts, sticks, whatever is around.  In the photo, you can also see two little incense containers and also a smoke clearing stick (smudge stick), it has its own little package.  You can also see the small altar cloth (this particular cloth was a gift from a dear friend and mentor, and is a very cherished part of my ritual gear), which rolls up nicely and fits in the bottom of the bag.

Ritual tools in the bag

Ritual tools in the bag

Finally, I have an elemental woodburning with an awen; when I place this on my altar, it reminds me of the four directions (extremely useful for someone like me with dyslexia).

Elemental woodburned piece for remembering the directions!

Here are some other things that show up in my ritual-in-a-bag: my favorite ritual flute, a small knife (used mostly for ritual, but also for herb harvesting), a vial for water (I like to save water from my rituals or from places where I do ritual and add it to a water altar), a lighter, and a journal.

More crane bag tools

More crane bag tools

One of the keys I think to keeping a small crane bag is careful packaging.  I have used a lot of special packaging to keep things together: sewing little bags for the elemental bowls, having a wrap for my tarot deck, having a wrap for my my smoke clearing stick so that it doesn’t flake off everywhere in the bag, and so forth.  One of the bags below contains all of my land offerings.

Packaging helps!

Packaging helps!

 

Even with all of these great tools, which you can carry everywhere, what doesn’t fit in the bag is Acorn!

Acorn is blessing the altar!

Acorn is blessing the altar!

 

I hope that this post helps de-mystify the druid’s crane bag and offers you a number of ideas that you might use in your own druid based, OBOD, AODA, or nature spirituality practice. In the words of John Gilbert, former AODA Archdruid of Air, “Your Druid Crane Bag is the badge of a Druid. Wear it with pride and with honor to yourself and the Druid Craft.”

 

Recipe: Wildcrafted Herbal Blessing Oil January 27, 2019

A herbal blessing oil is a simple magical tool that you can make that directly comes from the living earth. The herbal blessing oil can be used to bless tools, seed balls, trees, yourself, other people, or anything else you like. You can include it as part of your Druid’s Crane Bag. Your own unique blend of herbs and wildcrafted ingredients will make it an amazing and potent tool for your practice.  While druidry doesn’t use oils extensively, other traditions, like the American folk magic and Hoodoo, use oils a lot to dress candles and do other kinds of energetic work.

 

Choosing Plant Material

You can harvest material from one plant or from a variety of plants and combine them. Here are some possibilities for you:

  • Lavender, Sage, Rosemary, Thyme, Lemon Balm, Majoram, – Garden herbs that offer healing and protection.  Add one or more of these as a blend.
  • Mugwort, Yarrow, St. Johns Wort, Goldenrod, Aster – Field herbs that offer protection, vision, and inspiration.  Mugwort is particularly good for dreaming.
  • Needles from White pine, eastern hemlock, and/or blue spruce – Tree herbs that offer strength, consistency, and vitality

You might also look at my series on sacred trees ( Elder, Walnut, Eastern White Cedar, Hemlock, Sugar Maple, Hawthorn, Hickory, Beech, Ash, White Pine, Oak, and Birch) to create a specific tree oil that will be useful to you and the work you are currently doing.  You can also refer to my longer list on smudge stick making for details about many plants and their uses.  You can also refer to any good magical herbal, like John Michael Greer’s Encyclopedia of Natural Magic or Beryl’s Master Book of Herbalism.

The oil in my photos is a journeying oil for dreaming and deep journeying work.  It contains mostly plants I grew and dried myself, but also some wildcrafted ingredients.  The recipe is: mugwort, bay leaves, rosemary, tobacco, lavender, borage, and heather.  Given that its winter here, these materials have been preserved from earlier in the year.

Plant material for a dreaming/journeying oil

Plant material for a dreaming/journeying oil

Gathering Materials

You want to gather fresh or dried plant material.  Fresh material can be obviously gathered in season; you can purchase or dry your own plant material otherwise.

Gathering Material. At a time of power (full moon, one of the eight holidays, another day of significance) go out and gather aromatic plant material. Aromatic plant material is that which has a high concentration of volatile oils (which is what essential oil is made from). When you crush the leaves of a plant or needles of a conifer and you can smell that wonderful smell, this is an aromatic plant. Even if its winter, you can gather conifers to make a potent oil.

You can gather your plant material from a variety of places a cultivated garden, an abandoned lot, an edge space, a field, or a forest. Before you gather your material, ask for permission from the plant and use inner listening skills to see if you can gather–I do not advocate taking any plant material without permission and an offering (see this herbal blend as a potential offering). If you are given permission, make an offering  and then harvest a small bit of the plant.

Purchased material. If you purchase your material, make sure it is organic and ethically sourced.  You don’t want any chemicals in your blend, and certainly, no suffering of the land.  Even though you purchased it, I suggest still making an offering to the land in thanks for the herbs before proceeding.

Dried material.  You can also use home-grown and dried materials from your garden or wildcrafted.

 

Making Your Oil

Fresh plant material. Once you’ve gathered your plant material or have obtained dried material, chop up the plant material into small pieces (1” or so in length). Spread the plant material out on a baking tray or similar surface. Allow the plant material to wilt on the counter indoors for a day so that some of the water is removed from it (wilting it in the sun will strip it of the aromatic oils). Wait till it dries out at least partially to reduce and/or eliminate the water in your sacred oil–water makes the oil go rancid.  It shows up like small bubbles at the bottom of the oil.

 

Open Up a Sacred Grove. Open up a sacred grove for magical crafting; as I described in my hawthorn post. You don’t have to do this, but I think if you are making an oil for magical purposes, its good to do so with intention and the right energy.

Making your Oil. Get a pint jar or other glass jar.  Using a pair of scissors or a mortar and pestle, break up the large plant material/grind up the plant material.  You can do this while changing, loosely pack the plant material into the jar. Now, take a good quality olive oil or other shelf stable oil (fractionated coconut oil or almond oil are other good choices) and pour the oil over the plant matter until it is completely covered.

Pair of herbal scissors with multiple blades easily cuts up dried plant matter!

Pair of herbal scissors with multiple blades easily cuts up dried plant matter!

Infusing your oil. Let the plant matter infuse in view of the sun and moon (like in a windowsill) for at least seven days.  If the plant matter is wet, you want to infuse it no longer than 7 days.  For dried matter, you can infuse it longer, up to a single lunar cycle.

Coconut oil is being used for this recipe

Coconut oil is being used for this recipe

On the seventh day, get a fine strainer and strain the plant matter out. If you don’t have a strainer, 1 ply of a paper towel can work, but it takes a while to drip through. Sometimes, a cheesecloth or thin paper towel (one layer) can be used to get final bits of plant matter out. Getting out as much plant matter is critical because plant matter will make the oil go rancid much faster.

 

Finishing Your oil: At this point, if you want, you can add a few drops of your favorite essential oil. You can get a small portable bottle and take the oil with you. Store your oil in a cool, dark place.  It will stay good 1-2 years.  Make sure you label it carefully and write your recipe down so if you want to make more, you will remember how to do so!

 

Using Your Oil

Here are just some of many uses for this kind of oil:

  • Put it in your crane bag or in a bottle necklace and take it with you to bless trees, rocks, or any other aspects of nature on your journeys.
  • Consider using it to support meditations and dreams; you can dab a bit on your temples before meditation, dreaming, ritual work, journey work, and more
  • Dress candles with it, using traditional folk methods.  Dressing a candle means putting oil on your finger and holding the candle in front of you.  If you bring your finger from the bottom of the candle and up, toward you, you are “bringing in”.  If you do the opposite, and move your finger away from you and down the candle, you are “removing”.  You can do this and then burn the candle (I like the little 4″ chime candles for this purpose).  Use this for healing, meditation, and more.

I hope this is helpful to you as yet another druid tool for your crane bag!  Readers, can you share any additional tips for how you’ve used magical and sacred oils in your practice?