Easy DIY Incense Stove

I adore incense. It smells good, usually, but it’s also a potent magickal tool of its own. Thing is, the ways we burn it tend to distort the scent, add undesireable elements to the mix, or both.

Using sticks is convenient, but when the wooden sticks in the center of the incense burns we can smell that too. That distorts the scent of the incense. Sticks are also usually doused in unknown chemicals.

Loose incense is great, and if we make it ourselves we know exactly what’s in it. However, the charcoal used to burn it almost always has saltpeter and other chemicals in it to make it burn. (Unsure if your incense has saltpeter in it? Light a block. If it crackles it contains saltpeter.)

Either way, the very act of burning adds an acrid, smoky undertone to the scent of our incenses. Burning also creates smoke that can aggravate sensitive lungs. (And, while smoke is sometimes necessary, it isn’t always.)

But what alternative do we have? An incense stove!

What’s an incense stove?

Have you seen the oil burners so common these days? They consist of a small dish on top with space for a tealight underneath. Put a bit of oil in the dish, put a lit tealight underneath, and voila.

oil-burner

Like this one.

The controlled indirect heat releases the scent without burning the oil. What a great idea, huh?

An incense stove does the same thing with incense.

Why not just use an oil burner for incense then?

Since oil burners and incense stoves function the same you might think you can use an oil burner for incense too. And technically you can. That technique comes with a pretty significant limitation, though.

The fragrance oils made for these burners all release their scents at about the same temperature. It’s done that way on purpose. However, loose incenses include everything from hard woods to delicate florals to wine and honey. Each of those require a different heat level to release their scents without burning, and combos have their own requirements.

To work with the wide variety of blends available we really require some way to adjust the temperature. I’m sure the fancy electric models out there are wonderful, but my budget doesn’t exactly run to fancy.

Time to DIY!

Make Your Own Incense Stove

As many of you know, DIY altar supplies are kinda my thing. My favorite projects all tend to be thrifty, simple, and effective. This one is now on the list. It cost me a whopping ZERO DOLLARS, because I already had everything necessary.  Even if you don’t have ANY of it, though, you should be able to make it for less than $5.

Bonus? It only takes about 10 minutes.

Supplies

supplies

The salt I used is not pictured here. Otherwise, this is everything!

* One empty and rinsed-out soda can. Obviously use whatever brand you have on hand. For those living overseas, US soda cans hold 12 ounces.
* A utility knife
* A pair of scissors (I used kitchen shears)
* A random bowl at least as big around as the can. Make sure it won’t melt! This one’s from my kitchen.
* Sand, salt, kitty litter, etc. Anything to put in the bowl to disperse the heat.
* An unscented tealight
* Loose incense of your choice. Don’t have any? Check online for recipes you can make from your spice cabinet, or hit your local magick shop for a variety of yummy blends.
* A lighter

That’s it!

(Note: I did not wear gloves, or eye protection, or anything else safety-wise in the creation of this stove. And hey, there’s fire involved. Please take whatever precautions you feel necessary when attempting this craft. Not for children.)

We’re going to use the bottom of the can. It’s already concave and everything! The top part with the tab has to go, though. So first, use your utility knife to puncture a few holes along the edge where the body of the can starts constricting towards the top. Like so:

utility-knife-punctures

That line there? That’s where you want to start punching holes. A utility knife will go through a can with the slightest pressure, so no need to be forceful about it!

Now take your scissors, slide one blade into one of your holes, and cut all the way around. You could just use the knife, but scissors are safer. Your call. *shrug*

You’ll likely have some bits come flying off, and your cutline will be a little jagged, but that’s ok. When you’re done you’ll have something that looks like this.

cut-with-burrs

Pretty, huh? Careful – the aluminum is so thin that you’ll get something like a paper cut if you slip.

Take your scissors and do your best to even out that jagged edge. Scissors will cut through pretty easily, so have at. I ended up sitting the can upright, holding the scissors in one place, and turning the can to get a straight line. When you’re done you’ll have something like this.

trimmed

Smooth like buttah. Relatively straight, even! WOOT!

Now for some “precision work”. Heh. Pick up your tealight and look at the cut edge of your can. You need to cut a hole big enough to slip the candle into. It both makes a nice glow and provides some ventilation for your tealight. I found that the nutrition label and the ingredients list together was the right size, so I cut a bit up each side until I had a little flap. Then I simply folded the flap up inside the can and pressed it along the side. Like so:

flap

The outside and inside view.

Set the can aside. It’s done! Not too traumatic, was it? Give your handyman self a pat on the back and bask in your accomplishment!

Now take your sand/salt/whatever and pour it into your bowl. Make sure it’s at least 2″ deep. Nestle your tealight in the center of it, all cozy-like.

bowl-with-unlit-candle

The trifecta of incense goodness!

Light the candle. Pick up your incense stove, curved side up, and position it over the candle. Settle it into the bowl so it doesn’t tip over. Move fast – aluminum transfers heat REALLY well, and it’ll get too hot to touch in like 15 seconds.

Sprinkle some loose incense into the curved cup on the top of your new stove and wait a few minutes.

Can you smell the incense yet? If not, push the can lower into the sand/salt/etc (with a utensil – it’ll be hot like burning!). That will have the effect of raising the candle and upping the temperature. Smell burned? It’s too hot. Use a utensil to raise the can. If you can’t raise the can anymore without it tipping, push the candle into a divot in the sand/salt/whatever to move the candle further away from the top and lower the temp. It’s that easy!

final-result

Amber resin is my fave. Smells awesome in (on?) my incense stove!

It is absolutely, positively functional at this stage. If, however, you want to cover the soda label and make it pretty you have tons of options. Metal paints work, of course. A sleeve out of some spare scrapbooking paper to cover the soda label could look nice, too, and add a little insulation to boot. Or maybe try wrapping it with silver foil from the kitchen for a shiny finish!

You can also carefully cut some small shapes into the sides of the can. They’ll look pretty all aglow and add ventilation points, which is handy if you have to sink the can so low into the salt that it cuts off air through the flap. They’ll also reduce heat, though, so take that into account with the sizing.

Congrats! You’re the proud owner of a brand new functional incense stove!

Light Up World Tree from Ironwood Witch

I am a HUGE fan of applicable arts and crafts. Don’t we all love to use our hands to manifest an aspect of our faith? In that vein, here is a wonderful twist on the standard Christmas tree – how to make your very of Yggdrasil!

I am a crafter, and I am a Heathen, and often the two combine. Right now, it’s also holiday season, with Yule coming up, and Christmas ALL OVER the craft stores (well, all over since like September. Crafters, we are a couple of months ahead of all holidays because we need the time to get […]

via Heathen Holiday Crafts: Light Up World Tree — Ironwood Witch

Catching the Sun

As we officially enter 2016 I thought it would be fun to do something a bit different.

Most everyone is posting about the season, its meanings, their resolutions, and a retrospective of 2015. I decided to focus on arts and crafts instead. Specifically, making suncatchers! In this season of celebrating the growing light in the world, making something that uses light in a decorative fashion seems to perfectly fit the season.

And no worries – you don’t need to be an artist to make something completely gorgeous!

Painting Glass

There are several techniques for making suncatchers, of course, but many of them are aimed at children. My favorite grown-up technique is painting glass. Which is way easier than it might sound. And you don’t even need a lot of stuff to do it!

Paints
There are two main types of paint you can use, the kind that air dries and the kind that cures in the oven.

Air Dry Glass Paint: The cheaper and more-easily-removable option air dries. I think Gallery Glass is the most popular brand, although Martha Stewart’s paints have good reviews too, and most craft stores carry some version of it. With most types there’s a bottle of outliner that simulates stained glass leading and then a range of colors to make your design. Once it’s dry it can stay on the glass as long as you like and be peeled off/washed off when you’re ready to change it up. This is obviously the way to go if you’re doing windows or pieces too big for your oven. However, it is not washable, not durable, and in my experience these paints do not lend themselves well to detail work.

GG paint

This is from Michael’s, but the same set is available all over. Should be plenty for quite a few projects, and don’t forget your coupons!

Oven Cure Paints: The more expensive and permanent option – and the one I prefer – is using a paint that cures to the glass after you bake it. It’s like paint Fimo! Once it’s baked it’s way more durable. It can even be put in the dishwasher (although it’s not food safe). The colors shimmer more, and the method of application lends itself well to more intricate designs. My go-to brand is Pebeo, and I order it from Dick Blick Art Supplies. This line has several outliners for different effects, as well as brushable paints and paint markers.

02950-1129-1-2ww-m

This is the glossy set. This plus a black outliner is what I used for this project.

Here’s a tip: Whichever type you choose, you need a REALLY TINY amount of paint for this. Most every surface we’re used to painting absorbs some of the paint, so we account for that absorption when we figure out how much paint we need for a project. Glass is completely non-porous, though, so a little paint goes a VERY long way. I did most of the work with the paint that lines the caps of the little jars when they’re opened, and even after multiple projects you can barely tell that I’ve used them at all. This particular piece had a lot of outlining work, too, and I think I used maybe a third of a tube.

Paintable Surfaces

Anything glass can be painted this way, but a suncatcher needs to be in a window for best effect. That means it needs to be hangable or prop-up-able. And what’s easier for that than picture frames?

The glass that comes in picture frames is my favorite surface to paint. Thrift stores are your friend here. I get much higher quality frames that way than I could otherwise afford, and what I find is always a random surprise. The “well-loved” quality found in thrift store frames only adds to their appeal. I also find that the frame can sometimes inspire that art I paint in it, too.

The frame used in this demo is this really pretty gold color that looked expensive, so the design I chose to paint worked with that. It also cost me a whopping $1, and as a bonus I got to trash the truly awful “art” that came in it.

Note: If you’re planning on using oven baked paints, measure your oven before shopping for glass! Then take a tape measure to the thrift store with you to make sure the glass you pick will fit inside for baking. Ask me how I know this. *rolls eyes*

That’s simple enough. What else do I need?

  • Paint brushes. Pebeo recommends super soft natural fiber brushes for their paint, to reduce the appearance of brush strokes. I’m cheap, so I went with a set of mixed media synthetic brushes. I grabbed them at Michael’s with a coupon. If you’re using air dry paint pretty much anything goes.
  • A piece of paper or cardboard slightly larger than your glass (which means the backing that came with the frame is too small). The oils on your hands can interfere with the paint’s ability to adhere to the surface, but I find that I need to frequently rotate the glass I’m working on as I paint. Putting the glass on something I can touch lets me easily move it around without oiling up the surface. It also protects my table from any paint that might go over the edges of the glass, and gives me a solid-colored surface to better see my design. The lighter the color the better. Spare wrapping paper, white side up, would be perfect.
  • A design to paint. This technique is really best with simple line art. Think coloring books. Luckily adult coloring pages are all over. You can download something for free, of course, but there are other options. The design I use here came from Etsy. Whatever you use, print it out on a piece of white paper.
  • You’ll also need: tape, acetone and q-tips, glass cleaner, a cup of water, paper towels, pliers, a palette if you plan on mixing colors, a “scraping implement” or two (explained below), and hanging hardware for your frame.

All supplies assembled? Let’s get started!

  1. Gently remove the glass from the frame. If it’s a fine art frame you’ll need to rip through the paper on the back to get to the glass. You might need your pliers here to remove some staples or tabs so you can remove the backing. Carefully do what you need to do, and then set the frame aside.

    frame

    Here we can see the ripped paper, the staples, and the paper remnants clinging to the frame. Don’t worry about those remnants – we’ll catch them later.

  2. Clean one side of the glass with the glass cleaner and let thoroughly dry. Carefully center your printed design, design-side down, on the glass and tape to secure.
  3. Turn the glass over (handling as little as possible from the edges!), put it on your craft paper, and clean that side too. You can now clearly see your design through the glass. Huzzah!

    design frame

    Like this! I forgot to snap a pic of mine, so here’s one I found online. Visualize the wrapping paper underneath this glass.

  4. Using your outliner, trace over all the lines of your design. It’s easy to overlook a line here, so double check. (Hint: If your design has some intricate line work, like Celtic knots, you might want to consider either printing your design with colored lines or using an outliner that’s not black.) The line thickness is determined by the pressure you use, so you might want to practice a bit first. You can also trim the nozzle a smidge to make it wider if you like.
    outliner

    Here we can see the gold outliner being used. You can get thin, thick, and patterned lines depending on the pressure exerted on the tube.

    If you screw up, use a q-tip dipped in acetone to remove the paint and start over. Stubborn lines might need to be scraped a bit with something like a nail file – the outliner is harder to remove than the paint. Allow to air dry before proceeding (about 30 minutes should be fine).

  5. Color! This is the fun part. Fill in the empty spots of the design with paint. The outliner is three-dimensional, so as long as you’re moderately careful the paint will stay in the lines. If it doesn’t, carefully clean up the error with a q-tip dipped in acetone.Here’s a tip. Using the brushes in typical paint-brush fashion leaves brush strokes. A stippling technique – bouncing the brush up and down instead of brushing it back and forth, like you do with a stencil – works way better. Real stained glass has splotches of uneven color too, so focus more on concealing brush strokes and less on trying to make it look completely uniform.
    Edges

    See the difference here? You can still see brush strokes on the bottom, but they are WAY less obvious.

    Also keep in mind that the paint will contract as it dries, meaning it’ll pull away from the outliner and leave a line of clear glass at the edges. I find that leaving a “puddle” of paint in each cell of the design gives me better results, and I usually have to paint sections twice for the coverage I like even so.

    Allow to air dry for about an hour. Then very carefully pick up the glass by the edges and hold it to the light. See anything to fix? Now’s the time! After you’ve made all the corrections you deem necessary, set it aside and allow it to air dry for 24 hours.

  6. Now that that’s done you can turn your attention to the frame! When you put this in a window the back of the frame will be visible to passer-by. If it’s a new ready-made frame it’ll likely be good to go. However, if you’re using a recycled frame you’ll have some work ahead of you.First, of course, you’ll need to remove any remaining staples and other undesired hardware. Then you’ve got to remove all those paper remnants! You tore out the paper in the middle to get to the glass earlier, but unless you are incredibly lucky you’ve got little bits of paper clinging all around the edge. That looks messy. And who wants that?
    messy frame

    This is just not attractive.

    I’m sure there are other techniques to remove the paper and glue, but here’s what I do.

    Place the frame pretty-side-down on a table. Dip your paintbrush in clean water and “paint” the paper all the way around. Let it sit for a few minutes, and then take a scraping implement and scrape the dissolving paper.

    knife

    My “scraping implement”. Don’t hate me, Julia Child!


    When you finish the first pass repeat the process. Once the paper is pretty much gone, move your fingers in a circular motion all along the back of the frame to make the remaining bits ball up. Then scrape those off. Repeat all steps as needed.

    You can either leave your frame here – bare wood can be pretty, and that’s what I went with – or you can decorate it. It’s wood, so whatever you’d normally do to wood can be done here too. Paint is the easiest way, but you can also do woodburning, add decorative nails/tacks, etc. Be creative!

  7. Once you’ve got it how you want it, attach your hanging hardware and wipe down the whole thing. Set aside to dry. If you started the frame as soon as you set the painting aside to dry they should both be ready at the same time.
  8. After the 24 hours are up on the paint drying process follow the manufacturer’s directions and bake your masterpiece in the oven. Allow to cool.
  9. Carefully return the glass to the frame. Many mass-produced frames will have bendable tabs that can be used for the purpose. Custom frames don’t. You can get hardware to hold the glass in, but I say “eh” and glue it in with E6000. That means it can’t be put in the dishwasher, though, so think it through before taking that kind of step.
  10. Hang in a window and admire! You’re done!
    FullSizeRender

    This is the finished product on the table…

    IMG_1251

    And this is the finished product in a window. See how the brush strokes look different with light coming in behind it?

Beyond Suncatchers

Suncatchers, and the making of suncatchers, are wonderful additions to any of the “increasing sun” rituals. I find them particularly awesome for both the Yule and Midsummer seasons.

Don’t be shy about branching out beyond suncatchers, though – you certainly have enough paint! You’ll be surprised at just how useful this technique is for ritual and magickal purposes once you become aware of the possibilities.

For starters, this exact same technique can be used for creating anchors for shields/wards, both in your home’s windows and hanging around a dedicated ritual space.

You can also try painting different shapes. Glass Christmas balls can be painted this way and make fantastic witch balls. Craft stores often have a plethora of hanging glass crystals (like for chandeliers?) that are easily customized with paint, too, and can be used in many different ways.

Dollar store/thrift store glassware can become beautiful custom ritual vessels with some creativity and paint, and if your altar has glass shelves this is another great way to add some character/magickal intent. If you are interested in making your own floating wick oil lamps, glass paint is a fabulous technique for that too.

Like this whole idea, but need to paint ceramic instead of glass? Maybe because you want to make a standing wick oil lamp? You’re in luck – these paints work on ceramics too! They provide a transparent finish. If you want something more opaque Pebeo offers a line of opaque paints too, and they’re used the exact same way. How useful is that?

Oven cure paints don’t work well with mirrors – the metallic backing does not bake well – but air dry paints are just fine. That can add a whole new dimension to mirror-based tools!

The Pebeo markers are particularly suited for painting runes on decorative glass gems, too. Just bake and they’re more durable for divination use than Sharpies are, and you can incorporate the baking process into their magickal making.

Pick up some small glass pendants/beads, or ceramic disks, and paint those too. This can make some truly exceptional ritual jewelry.

See how useful this is? I could go on and on. I hope you have lots of fun with this, and I look forward to seeing some of the creative uses y’all come up with. Happy crafting!

A Special Set of Special Purpose Prayer Beads

I did a series on prayer beads awhile back, and one of those posts discussed the use of Special Purpose Beads. I received an email from a reader recently about how she had used that information, and loved the creativity and purpose so much I got her permission – and photographs! – to share here.

This reader (who wishes to remain anonymous, so we’ll call her “Anne”) has very high anxiety levels, especially in crowds and other social situations. She thought beads sounded like something simple that would help her calm down when her anxiety peaked.

This is what she came up with:

Necklace 1

Isn’t that pretty?

Materials

The materials were carefully chosen. Most of the beads are hematite, chosen for their grounding and stabilizing properties. She used a total of 27 hematite beads, divided into 3 sets of 9. She also used 3 amethyst beads, chosen for their associations with calmness and tranquility. The 45 silver spacer beads were chosen primarily for color and size, but also to again reference the number 9, or 3×3. Anne visualizes a tree when she grounds, so the 6 bead caps she uses around the amethyst beads support that. Each cap is made up of 5 leaves in a star shape, giving a total of 30 leaves. Everything reduces to 3 or a multiple of 3.

A close up of the bead caps surrounding the amethyst.

A close up of the bead caps surrounding the amethyst.

Because she wants to have it available at all times she made her special purpose beads into a set she can wear as a necklace. She chose an owl-shaped magnetic clasp to finish everything off. The owl is both part of her visualization and sacred to Blodeuwedd, the goddess Anne works with.

Process

Before ever using the beads Anne dedicated them to Blodeuwedd, asking for Her help with managing anxiety and returning to a state of calm focus. Then she started wearing them.

When she feels her anxiety beginning to mount she finds a private place, ranging from a quiet corner to a bathroom stall, and removes the beads from her neck. After she refastens the clasp she holds them in her hands.

Anne has a hard time remembering words when she’s anxious, so the first set doesn’t require any. Instead, she simply takes a deep breath for each bead in the first set. That’s nine deep, calming, slow, rhythmic breaths to help her settle. If nine isn’t enough she’ll go through all three sets with deep breaths, then start the cycle over again until she feels calm enough to continue.

When reaching the first amethyst bead she strongly visualizes her grounding tree.

On the second set of hematite beads she does her tree-based grounding visualization while saying “My tree is deeply rooted” for every bead as she grounds.

The tree that she visualizes for grounding has a hollow in the trunk. When she reaches the second amethyst bead she focuses her visualization on that hollow, because she visualizes the next step – centering – as the owl that lives in the hollow opening its eyes.

On the third set of hematite beads she says “My owl is awake and aware” for every bead as she centers.

Another view.

Another view.

On the final amethyst bead, she visualizes the owl’s eyes glowing, to show she is completely centered and protected by her tree.

The clasp is also part of the process. She holds it while taking three deep cleansing breaths to gently end the session.

Then she does an assessment. If she feels ok she stops there. If she’s still overly anxious or shaky, however, she repeats the cycle until she feels more balanced.

Commentary

Personally, I love the way Anne uses her beads as a grounding and centering aid when stressed. It gives her something solid to hold on to, simple sentences to focus on, and a guide to visualizations that bring her back to her center. Everything was well thought out and works beautifully together to support the specific use she has for the set. Just gorgeous!

Here is Anne, wearing her beautiful and functional creation.

Here is Anne, wearing her beautiful and functional creation.

Thanks so much for sharing your vision with us, Anne!

Striking the Spark – Using Oil Lamps

This is the final post of a four part series. Posts one, two, and three need to be read before reading this entry for clarity.

Now that we’ve made (or are thinking about making) an oil lamp, what do we do with it?

Like most things you’re pretty much limited only by your creativity. They’re so easy to customize that there are more options than I can possibly list. Think of them as having the flexibility of candle magick with a bit more permanence. LOTS of options!

I’ll hit a few of the uses here to get you started.

One thing to keep in mind? Oil lamps have two usable parts – the flame, and the fuel. That expands the techniques quite a bit.

Meditation and Dreamwork

This is perhaps the most widespread use of the oil lamp in spiritual practice, especially those that burn olive oil. The flame is incredibly steady, making it ideal for use as a meditative focus. It’s also dimmer than petroleum flames so it’s easier on the eyes (important to me, since I’m photosensitive).

Image

A simple Buddhist altar, with an oil lamp for meditation.

Oil lamps give some flexibility to meditation beyond what candles can offer. For instance, it’s incredibly simple to mix a few drops of essential oil into the olive oil, offering a light scent and a way to boost the correspondences of the oil used.

One of my favorite techniques is to anoint my third eye with oil from the lamp as a boost to my meditation, especially when I’m trying to deal with a specific issue. I’ll say a short prayer prior to lighting the lamp to ask for clarity, light the lamp, and then anoint with the oil before I settle in to my meditation session. This can also be done before sleep to enhance dreamwork.

Divination

Simply use the flame to illuminate the divination surface/tool. This is especially useful during crystal or mirror work. The steady flame that’s so useful for meditation is a natural fit here. And again, just like with meditation the oil can be customized with essential oils and used to anoint both the reader and the tools.

Image

For this lamp the base of the crystal ball also helps support multiple wicks.

It is also good for fire scrying. The steady flame doesn’t offer the shapes some people look for when scrying in things like campfires, which can take some adjustment. However, the flame itself plus the meditative headspace it creates, when focused on a topic, can provide a wonderful divination method.

Cleansing and Blessing Work

Back in the day the Greeks didn’t have soap (soap was a Celtic thing). The Greeks cleaned themselves by covering themselves liberally in olive oil and then scraping it off. Olive oil still has that association with cleansing, and with olive oil being the primary fuel for these kinds of lamps cleansing uses seem to be a no-brainer. Especially since the flame itself of course brings in all the transformational and purifying qualities associated with fire.

Add a little rosemary or sage oil to the olive oil already being used and you’ve got something that literally “burns away” destructive energy in a given space. It’s similar to a smudge stick, without all the smoke that is difficult to breathe and the bits of sage falling away that can start unintended fires. It can even (carefully) be carried around to “shine its light everywhere” if that’s desired.

I greatly prefer this to candles. For one, adding a few drops of sage oil to the olive oil is much neater than rubbing oil all over a candle and then having to carry it around. *shrug* That matters. The lack of smoke from this kind of lamp is also a huge bonus, especially when cleansing a sickroom. A dedicated lamp used for cleansing also carries that cleansing intent between workings, which is a bit harder to get from anointed and carved candles.

Image

The blessing of St. Jude Oil at a shrine in NYC. St. Jude Oil is used as a protection against evil and healing for both mind and body.

Another technique – one I use every time I do any altar work at all – is to incorporate a lamp into personal cleansing work. I light the lamp, use the flame to help calm and center myself, and then “breathe in” the flame. I visualize the flame burning away any impurity inside of me before I address myself to the Powers. Visualize the flame radiating through you to your immediate environment and you can cleanse that too.

And of course the oil can be used to anoint people and objects for cleansing.

Shielding

Light the flame of the lamp. Everywhere illuminated by the lamp is shielded, either by the flame itself or by the Presence it signifies (discussed below).

Honoring, Offering, and Presence Lamps

Oil lamps are foundational tools used around the world for shrines and temples. The lit lamp symbolizes the presence of a given Power. The maintenance of the lamp – trimming the wick, filling the lamp, meditation time before it – is also often seen as an offering to that Power.

A related use is providing a definite start/stop time for a specific presence. There are some Powers that you really don’t want lurking around. If Their presence is tied to a lamp, so They are only present when it’s lit and are not present when it’s not, you’ve essentially got a switch. It’s not foolproof, of course, and it needs to be set up, but I find it works rather well.

Using the same lamp over and over again, and simply topping it off as needed, keeps that “setting” going strong. And, as always, the oil can be used for anointing. In this case it can connect you to a given Power and convey blessings.

Spellworkings

Just as a lamp can provide an on/off switch for a given Presence, so too can it provide the same type of service for a given working.

Set up any working you like, especially if you plan on repeating the same working. (I find this particularly applicable to shielding and other defensive work, but that’s how I’m wired. YMMV.) Incorporate the creation of a dedicated lamp into whatever spellcraft you’re doing. When you want to “activate” the working, light the lamp. When you’re done with it, extinguish the lamp.

Memorials

Oil lamps are often lit to honor those who have passed during tragic circumstances, especially after disasters, battles, or terrorist attacks. This is a wonderful tradition to add to Veteran’s Day and Samhain observances, as well as working well for specific memorials throughout the year.

Image

A girl lights oil lamps at a Buddhist temple to honor those killed in the 2004 Indian Ocean tsunami in Sri Lanka.

Uniting Groups

If a group is working in separate physical locations, individuals lighting oil lamps similar to those lit by others in the group can help unite them, especially if the lighting and extinguishing follow a set liturgy/ritual. It doesn’t have to be long – a sentence and gesture might be all that’s needed – but it works. One person can purchase wicking, hack off pieces, and send them to the other members, so the wicking is all in common. Another way to unify the lamps is to have one person bless and add essential oils to a gallon of olive oil, and then mail smaller bottles containing that oil to everyone else. Remember, one one-liter bottle can burn for 250-300 hours, so a little goes a long way!

Signifying Initiation

Let’s say a group uses oil lamps on their personal altars. If someone new comes into that group, lighting their brand new lamp from the flame of an established member is a way to make them part of the group – they’re sharing the same flame.

Signifying Graduation

This is similar to the above. When someone has graduated their teaching and is qualified to teach others, their oil lamp is lit from their teacher’s to show that the knowledge has been passed on and the new student now has authorization to share that knowledge with others, eventually lighting other lamps themselves.

Passing the Torch

When one person takes over the roles/duties of another in a group setting, lighting the incoming person’s lamp with the outgoing person’s lamp is a highly visible way to “pass the torch”. If done with a perpetual flame, the same flame might burn through terms of office, regardless of who fills the role.

Etc, etc, etc

There are even more uses than these, of course. Feel free to experiment and come up with something that uniquely fits your practice. I’d love to hear what you come up with!

Striking the Spark – Constructing the Floating Wick Oil Lamp

This is the third in a four part series. Please read part one and part two before proceeding.

The floating wick oil lamp can be even easier than the standing wick lamp, depending on how it’s approached. And either way there are fewer steps!

Materials

The container for the floating wick lamp tends to be easier to find. Any wine glass works, for instance. Glass, ceramic, and metal are all appropriate choices, and I find glass particularly fitting because it doesn’t block the flame even when the liquid level drops. About the only real shape considerations are that a) you want it taller than it is wide unless you want more than one wick, and b) it needs to hold at least 1 cup of liquid. More is fine, but less liquid requires more frequent tending, which can be inconvenient.

Instructions

These are instructions for building two different versions! Either way the first step is the same, though.

1) Assemble your supplies.

The container for this lamp is a red wine glass picked up on clearance. Also needed are a pair of duck-billed pliers, a pair of wrapping pliers, a pair of wire cutters, a cup of water (not pictured), about two feet of 14g copper wire, a cork wick float, and maybe a ruler. (The wire and the wick float make two different versions of the floating wick lamp, so decide which one you want before assembling your supplies. The wick float was purchased at the same supply house that provided the wicking.)

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Again, any wire can be used. I stuck with regular copper for this lamp too.

For the Wick Float Version:

The wick float is a very simple little device. It consists of a piece of sealed cork with a metal shield on top. The cork is sealed to prevent it from absorbing oil and sinking, and the metal shield prevents the cork from catching on fire. For most floats all that remains is a hole in the center through which the wick is strung. However, I decided to go with the slightly fancier model that features adjustable “rabbit ears”. These are supposed to allow the user to raise or lower the wick without getting their fingers oily. In my experience they don’t work well for that, but they do provide convenient handles for lifting the entire float.

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See? Bunny ears!

All that’s necessary to use this is threading the wick through the float and plopping it in the lamp. *shrug* Assembly done! Once the wick is saturated in oil it’s ready to light.

The only “trick” here is the composition of the lamp oil. First fill the container about halfway with water. Add a pinch of salt if desired (blessing it is entirely optional), then top off with olive oil. Allow the liquids enough time to settle out, with the oil floating cleanly on top of the water, before adding and lighting the float.

It’s a really ingenious system – the wick floats in the oil until the oil’s gone, at which point it absorbs the water and extinguishes the flame. It’s like a built-in timer!

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You can make out the oil/water layers in this picture, and see the extra wicking swirling around in the back.

This version of the lamp cost me about $8, including the glass. I’m SUCH a big spender! *laugh*

For the Wire Wick Holder Version:

This is another holder made from bending wire, like the standing wick lamp, and there’s even less to bend with this style. However, the measurements have to be fairly exact to work because it has to balance on whatever vessel you’ve chosen. You can actually measure it out (with the ruler), or do it by eye with the wire in-hand. Whichever works for you.

1) Make a center twist.

Center the wire and make a corkscrew-twist with two rotations to hold the wick. Since this is designed to sit at the center of the glass, the two “arms” of the holder will each equal the radius of the vessel. Once you have that measurement kink the wire 90* as shown in the picture.

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The measurements here are completely dependent on the vessel chosen. This measurement fits inside of the glass I used.

2) Make other bends as needed to fit your vessel.

As you can tell this whole technique is highly dependent on what vessel you go with. I kinked the arms above to fit inside the glass, but that alone wasn’t enough to properly balance it on the lip of the glass and make sure it was sturdy. So I bent it some more. Because the glass has a flared lip it was a bit more challenging, but I eventually came up with something that worked. Experimentation is key.

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These angles will keep the center wick-holder centered as well as almost clamping it to the sides of the glass.

3) Finish off the wire ends.

Once you’ve got the wire holder done you’ve got to decide what to do with the remaining wire ends. I could have decided to just clip them below the lip part, but I wanted something decorative and pretty. So once more with the spirals! I spiraled the ends up, and made them large to help “seat” the holder over the glass. Once again the spirals looked bare, so I hit my bead stash and made pretty little dangles for the spirals. And here’s the final product!

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As with the floating wick lamp, simply thread the wicking through the holder part, wait until it’s saturated with oil, and light.

At about $6 this lamp came in a little cheaper than the floating wick lamp, simply because wire is cheaper than the cost of the pre-made wick float. The only reason the standing wick lamp was $10 more expensive was because of the vessel I chose – change that and there’s not much cost difference at all between the styles, so it really is a matter of personal preference.

The next post will offer some tips and techniques for actually using the lamps we’ve made in this series!

Striking the Spark – Constructing the Standing Wick Oil Lamp

This is the second in a four-part series. The first post can be found here.

Constructing this style of lamp is dead simple. All of the work needed to create it is done to one length of copper wire. I broke it out in steps, but once you get it down you can churn one of these out in less than half an hour easy. Talk about instant gratification!

Materials

By far the easiest choice for this style is a ready-made ceramic vessel. Other materials are possible, of course, but most require a bit more tending. Ceramic comes in a wide variety of colors and styles, is not itself flammable, is durable, and as long as it’s properly glazed it doesn’t leak. It’s also easy to find styles that are wider than they are tall – this style works best with shallow containers. Feel free to use other materials as long as those points are considered.

Should you choose to make your own ceramic vessel firing it is optional. However, lamps made without firing will only last for a couple of uses because they will be very fragile. Similarly, most ancient lamps were not glazed. Glazing is what prevents liquids from seeping through the clay. If using an unglazed lamp it should be emptied between uses and placed on a saucer of some sort to catch drips.  

Instructions

This lamp only has eight steps! How cool is that?

1) Assemble the supplies.

The container I chose for this lamp is a pillar candle holder that stands six inches tall. The “bowl” is five and a half inches in diameter and one and one-quarter inches deep. Also assembled are: a pair of duck-billed pliers, a pair of wrapping pliers, a pair of wire cutters (not pictured), about five feet of 14g copper wire (available in jewelry stores), and a small piece of wicking (available from this site). You’ll also need olive oil. All together the supplies cost about $16 even with the fancy holder (thank you Pier One). I already had the pliers so that cost was not factored in. However, they can be had cheaply in craft supply stores for about $2 a pair.

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Any wire can be used, of course. Copper’s just easy to work with. You can even find it in a wide variety of colors. I went with natural here because the vessel is already so colorful!

2) Curl the wire to hold the wick.

Make a cork-screw-style loop at one end of the wire that is just big enough to hold the wick, with two turns in it as shown.

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Make it tight enough to hold the wicking.

3) Continue the spiral

Smoothly begin to spiral the wire around in ever-increasing loops. This provides a solid base that enables the cork-screw part to keep the wick standing upright – hence the name of this lamp style.

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Here is where you start really appreciating copper’s workability – this can be difficult with stiffer wire. *grin* Ask me how I know. On an unrelated note, repurposed coat hangers suck for this. Just sayin’.

4)  Watch the spiral become a spring

As you spiral the wire it will begin to look like a spring. That will be worked out later, so don’t worry about it now. How many times you want to spiral the wire around to form a base is largely up to you. Since wicking is so light normally just a few spirals will keep it upright. I decided to make this one larger strictly for aesthetic reasons – with this vessel having straight sides I thought it would look better if the spiral filled the bowl. That’s not necessary, though, and the decision depends on the shape/size of the bowl and your own personal taste.

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Boing! Boing!

5) Flatten the spring

Once the spiral is to the desired size begin working it flat. Basically massage the wire, starting from the outside and working in towards the center. Gently press it with your hands to the level of the bit of wire closest to the outside. Do not flatten it all the way, however – leave just a bit of height in the center (about a quarter inch or so) to provide clearance for the wick. Remember the wick will not burn if it is submerged in oil!

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This part can take a bit, depending on how tightly you spiraled the wire. If it doesn’t seem to be flattening well, try putting something like a phone book on top for a bit.

6) Begin the handle.

At this point the spirals are flattened and we are ready to begin the handle, which lets you do things like adjust the wick without getting oil all over yourself. Put a kink in the wire after the spiral, so the remaining wire sticks straight up.

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If you look at the right side of the frame you will see that the wire has a 90° kink in it. This is the start of the handle.

7) Spiral the other end of the wire

Once the wire is kinked start another spiral at the other end. This spiral should be 90° offset from the bottom, providing a comfortable handle. The size of this is again a personal choice, depending on both aesthetics and the size of the hand using it. For a holder with a smaller number of spirals around the wick balance can also be an issue, as a large handle and small bowl spiral will tip over. Once done you simply thread the wick through the wick holder.

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So pretty! But something’s missing…

8) Decorate!

Technically you can stop at step 7. It’s perfectly functional. But… doesn’t that spiral handle look a little stark? I thought it did! So I hit my bead stash and dressed it up with three matching beads strung on a thinner copper wire. The beads catch and reflect the light, and if you like they can also be a place to add some additional correspondences. Don’t limit yourself to beads, either – charms, crystals, etc all work well. I’d just avoid anything flammable. NOW you can light it! Done!

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The vessel was filled with olive oil so that the oil level hit mid-range on the wick holder. This kept the wick about ¼” about the oil, and as you can see it is burning beautifully. Just remember that the wick has to be saturated to burn properly, so give it a bit to properly absorb the oil.

And there it is – a fully functional standing wick lamp! How gorgeous is THAT? And simple too!

In the next post I’ll provide another tutorial on the floating wick lamp, and the final post of this little series will go into how to use them.