Journey Through The Obsidian Dream

The image of Venus, according to the opinion of the wise Mercurius, is a shape with the body of a man, the face and head of a bird, and the feet of an eagle. This is its shape.

Picatrix, Bk II, Ch 10, Para 28, trans. Attrell and Porreca

Behold the Image of Venus According to Mercurius!

My first try at this image had a very different head: dove-like, like my Image of Venus to be Well Received and Esteemed by All, but facing the viewer. Technically, it was well-executed, but I fucking hated it. When I vented my frustration about it over on bsky, Fae Grigoryeva suggested a harpy eagle and shared a fantastic photo reference, which – as you can see – was absolutely perfect. I considered going back and seeing if I could find a reference for harpy eagle claws, specifically, but decided against because I like the claws as I drew them, already.

I struggled with what to do with his hands. As you can see, I ultimately went with Baphomet’s gesture of benediction.

I considered making him explicitly trans, naked and with top surgery scars, but in this case decided to make it more ambiguous, just leaving his wasp waist and mighty thighs. I dressed him in a fantasy loincloth with some of the same geometry as the Egyptian kilt I dressed the Image of Saturn in mostly because I just really like that shape.

It’s interesting to me that this image is so similar to the Image of Venus to Be Well Received and Esteemed by All, a bird-headed woman holding the same comb and apple as the Image of Venus According to Picatrix, which is why I originally tried to give him a similar dovelike head. I suspect there’s something interesting to sus out there, but I’m just going to run with “Venus is genderqueer” and leave it there, for now.

This image completes my collection of images according to Mercurius, my second complete set of Picatrix planetary images. It is my seventeenth Picatrix planetary image, altogether. Some day, I may come back and do the rest of the images “according to Picatrix” (I’ve already done Venus, Jupiter, and Saturn), or some of the other authors, but – somewhat to my own surprise – I’m a little tired of the planets and of the Picatrix. I don’t know, yet, where exactly I’m going to turn to next for inspiration. I have a few thoughts, but I want to reflect on this collection a bit before I chose my path forward.

In art, witchcraft

Picatrix Image of Saturn According to Mercurius

Satyr Magos09/05/202602/05/2026Leave a comment

The image of Saturn, according to the opinion of wise Mercurius, is the shape of a man standing, raisihing his hands above his head and holding a fish in them. Below his feet is a lizard.

Picatrix, Bk II, Ch 10, Para 13, trans. Attrell and Porreca

Behold, my penultimate (for now) Picatrix planetary image, Saturn according to Mercurius!

This one was a challenge because the image this description first conjured for me was more comical than I think most people are prepared to accept from/of Saturn: a fat butch showing off her catch like she’s making an OKCupid profile, standing over the Sobe lizard:

Gods, that was so much fun to draw. More than a month later, this one still makes me giggle, and getting past it to a more conventional image of Saturn was hard work.

In the end, though, I think I succeeded.

I can’t say why I decided that this Saturn should be dressed in an ancient Egyptian kilt, but I think it works well. That Egyptian theme helped me choose what sort of fish and lizard to draw with him: an electric Nile catfish and an Egyptian spiny-tailed lizard. The fish is admittedly so-so, but the lizard and its dramatic pose (copied from the fantastic reference photo I found) more than make up the difference.

As always, you can find high resolution versions of these images over on my Patreon, where you can also find a lot of my art and writing that never makes it to the wider web.

In art, witchcraft

Picatrix Image of Mars According to Mercurius

Satyr Magos26/04/202621/04/2026Leave a comment

Behold, my latest Picatrix planetary image, Mars according to Mercurius!

The image of Mars according to the opinion of Mercurius, is the shape of a man standing erect on his feet, holding on his right a beautiful virgin standing on her feet, which is an image of Venus with her hair fastened back. Mars is placing his right hand on his own neck and his left hand extending above her chest; he is facing her and admiring her. – Picatrix, Bk II, Ch 10, Para 20, trans. Attrell and Porreca

This image is interesting (and a technical challenge) first and foremost because it features not one figure but two: Mars, here, is accompanied by Venus, and they are very explicitly interacting. I may be missing something, but as far as I can tell the only other mutltiple-(human-)figure image is Venus According to Ptolemy as translated by Greer and Warnock: “a nude woman with a chain around her neck held by the image of Mars who stands before her” (Picatrix Book II, Chapter 10, p. 104 of the Liber Astratus edition), though it’s worth noting that Attrell and Porreca render that line as “in front of her neck she has the shape of Mars with a single chain” (Bk II, Ch10, Para 29 of their translation), in which case “the shape of Mars” could easily be understood as a man holding a chain, a man who is chained, or a big ol’ glyph of Mars around her neck like she robbed some macho man from the 1980s. (If I do ever come back to the Picatrix planets as an artistic subject, Venus According to Ptolemy is a strong candidate; in this moment I’m juggling two possible versions: a muscle mommy Venus wearing a glyph of Mars on a heavy chain and a high femme Venus holding Mars in chains.)

It also presented an interesting design challenge in that while the man is described as naked, the image of Venus is neither given a costume nor explicitly also nude. I think I was unconsciously recalling that Greer-Warnock rendering of the image of Venus when I decided to make them both naked. Having realized that as I write this, I have taken a moment to reconsider that decision, but I think it’s the right call because of how “naked man/dressed woman” hits on the internet in this year 2026 of our Demiurge. (And, of course, because I just like making art with naked people.)

Inevitably, there’s some very tiny technical things that vex me. There’s still something just a hair off about their respective proportions (though, of course, humans aren’t actually any one set of idealized proportions: we come in all shapes and sizes, which is something that I have tried to showcase in my collection of images.) Flaccid penises always look silly, no matter how big, small, or average they are. There’s also a few thematic elements that I’m still trying to figure out: do I want that white outline around them? I’ve added it to some and not to others; I also haven’t gone about it quite the same way twice. Before I print them, I need to make an actual decision about that for the sake of consistency.

Over all, though, I’m very pleased with this image. I’m proud of the clean evolution from my first sketch, where I was figuring out the pose and how to interpret the texts, to the sketch I shared with you last week, to this final black line version. I feel like I’m fucking finally figuring out how to draw feet. I’m like the composition and how they interact with the frame. I like both their faces, but especially hers. I really like how the textures of their hair turned out. I think I did a particularly good job on the linework, especially the heavy border.

In art, witchcraft

Occult Art: Solar Guardians of Polyphanes

Satyr Magos19/04/202618/04/20262 Comments

In May of last year, Polyphanes reached out to me about doing a series of illustrations for him: icons of six solar guardians that feature prominently in his personal practice.

I was, of course, delighted. I’ve only done a handful of commissioned illustrations, but I’ve always wanted to do more. And Polyphanes and I have admired eachother’s work since we were both in college. But it was also a large project, which I feared might be a bit past the edge of my expertise: six figures, three theriomorphic and three anthropoid, drawing on both Eastern and Western visual traditions. Real talk: the dragon and the wizards/priests were right up my alley, and i was excited for the challenge of the pseudo-Egyptian falcon, but the crocodile and the child fucking concerned me.

Working up a price estimate was its own challenge. I know how long making jewelry takes, and what to charge for that labor. The time it takes me to do an illustration is a lot less consistent, and this project included both revisions and publication rights, which I really didn’t know how to calculate. But I did ultimately put together a quote that we were both happy with, and if I did underestimate the labor … well, that’s just part of the learning process. When I said “give me six or eight weeks after I get back from my road trip”, Polyphanes laughed and said, “how about I give you until this time next year?” (He was absolutely right.)

Polyphanes, himself, has this to say about the project as a whole:

This project of the Guardians of the Directions of the Cosmos came about from my work with the PGM, extending certain aspects of it into a more cohesive and expansive approach. These spirits can be sourced at least in part from PGM II.64—183 and PGM.XII.14—95, but there’s a huge amount of own explorations of and experience of these spirits that went into my realization of them and their images. There are two groups of them, the four for the directions and the two for the heights and depths, each marking a particular motion or domain of the Sun. I call on them as part of my daily empowerment ritual, and I also make an offering to them in my seasonal rite for the Sun crossing the equinoxes or solstices. They take a role not unlike the Watchtowers in some forms of modern magical practice, but they have a distinctly solar presence for me where each intertwines with the other, not wholly joined but not wholly separate either. That I’ve been able to work with JS to bring form to these spirits as JS brings these spirits into the world has been nothing short of a privilege, and I am deeply grateful for all the work and diligence xie’s done.

He has also done his own writeup of the project, which you should definitely read here: https://digitalambler.com/2026/04/11/icons-of-the-solar-guardians-of-the-directions-by-and-with-many-thanks-to-satyr-magos/

Along with the descriptions of the images (much clearer than anything the Picatrix has given me), Polyphanes included a copy of his ritual document and some pictures of his altar, which I used to make initial contact with the spirits in question. I don’t know that I ever made particularly lasting contact with those spirits, but it was enough. Like other magical art projects, in particular, inspiration came in clear strong bursts, in between which were days, weeks, even months of inactivity. Throughout the whole process, I tried to keep in mind that these images were icons, portraits of spirits whose pleasure was as important as my mortal client’s.

I drew the dragon first, then the falcon, then the crocodile, then the child, then the wizard, and finally the priestess. I chose that order deliberately, working roughly from hardest to easiest. I draw a lot of dragons, but I knew from the beginning that I wanted to draw Every Single Scale, and I knew that was going to suck, and that he was going to be a struggle to fit onto the page. I had a similarly clear vision of the falcon, but knew that the strong geometry of the pseudo-Egyptian stylization was going to be a real challenge. The crocodile, somewhat outside my wheelhouse, was easier chiefly in that I thought the experience of the dragon and the availability of reference photos would smooth over some of the difficulties (though his scale texture proved one of the greatest challenges of the project). Similarly, the Buddha-like child was easier only in that he has a human form; this may literally be the first child I’ve ever drawn. Finally, I got to the wizard and the priestess: themes so deep into my comfort zone that I knew that, no matter how exhausted the other figures left me, I would be well equipped do to them justice even if I were skating in at the last possible minute.

All six images began as pencil sketches on drawing paper, which remains my strong preference even as continue to master (and learn to genuinely love) digital linework and start to really grasp digital colors. The linework was almost all done in Clip Studio Paint 2.0, first on my laptop and then on my desktop, using a Wacom Intuos S graphics tablet (yeah, one of the little ~6x8in ones), with a few sections of the falcon done on my low-end Samsung Galaxy tablet using the mobile version of Clip Studio. I tried sections of the dragon and the crocodile on the tablet, as well, but couldn’t get it to work the way I wanted.

Last week, when I finally set them all down side-by-side-by-side to see how they worked as a set (looking at them on the screen is not the same), I was genuinely stunned by how well the whole thing had come together despite being the work of an entire year. I love each and every one of them. I can’t pick a favorite. Each has some element that I think is spectacularly executed, and I think they serve their intended purpose(s) admirably. I think I did a great job on the dragon’s scales, and I love his face and his cloudy crown. I love the falcon so much that I want to make jewelry out of him. I am so pleased with the face of the crocodile, and how I was able to work the reference image into what I wanted using my knowledge of foreshortening and anatomy. I love the lotus that the youth is sitting on, and I think he looks fucking fantastic for being my first child ever. I love the textures I achieved on the old man’s robes and sandals. I love the woman’s headscarf and the shadows over her face and hair and the way her peplos came together.

Overall, working on the project was an absolute blast. I am honored to have been chosen for the project, and proud of myself for seeing it through despite being a bit outside my wheelhouse. I hope to have the opportunity to do more images like these: portraits of beloved gods and spirits for the magicians who conjure them, drawn not just from ancient texts but from their experiences of these powers.

Along with my Picatrix planetary images, and the illustrations for my novel, The Prince’s Fighters, these images have really pushed me to mature and grow as an artist. I’ve felt very stagnated as an illustrator for several years, now, and it feels really good to see and feel such clear improvement over the last twelve to eighteen months, especially while the final results remain so recognizably my own.

In art, scholarship, witchcraft

Picatrix Image of Jupiter According to Apollonius

Satyr Magos26/02/202626/02/2026

“The Image of Jupiter, according to the opinion of Apollonius, is the shape of a man sitting on an eagle, wrapped in a cloth, with his feet on the eagle’s back, and a head, covered by a cloth, held in this right hand. This is his shape.” -Picatrix Book II, Chapter 10, Paragraph 15 (Attrell and Porecca, 2019)

Behold, my latest Picatrix astrological image, Jupiter According to Apollonius”, my third Image of Jupiter following “… According to Picatrix” and “… Mercurius”.

The man and the eagle are obvious elements for an image of Jupiter. The head is less obvious. Having taken Gil the Dragon’s argument that the lion-headed image of Jupiter according to Picatrix is a callback to Herakles, similar lines of thought lead me to take the severed head here as a callback to Algol and Medusa, which would make this figure a rendition of Perseus.

As with all of these images, the vague description left me with a lot of room to make creative design decisions. I took “wrapped in a cloth” here the same way I did on my Mercurius image because it fit with the flying motif, because I like the continuity it adds between the two Jupiter images, and honestly because it’s just so much fun to draw. I chose to depict Jupiter as a hairy trans man with visible top surgery scars for mostly the same reasons I made the Mercurius image fat: because it’s fun, because it looks cool, and to add a bit more diversity to my imagery.

The eagle was a real technical challenge on account of I don’t have a lot of practice drawing birds. I based this one on a photo I found of a European imperial eagle in flight. The drawing is imperfect, but the fact of the matter is that real birds aren’t ever actually majestic, they’re all just that funny looking. And I’m proud of the feather patterns if not the degree to which it turned out more stylized than the figure.

The head he’s holding up, though, gave me a little bit of pause. From a design perspective, it was a challenge to navigate showing enough of the thing he’s holding under its cloth to be clear that it’s a head without reducing the cloth to the point where it looks like a doily hat. Plus the inevitable question of why the cloth isn’t blowing away in the wind that’s billowing Jupiter’s hair and the cloth he’s wearing. Ultimately, I went for intelligibility over realism, and I think that it looks pretty fucking good.
Also, while I do think that I am persuaded by my own speculation that the severed head is supposed to be (or at least evoke) Algol/Medusa, I chose to render it as a bearded man’s head for the sake of intelligibility at the intended scale of print (tarot car size).

The completion of this Image of Jupiter marks the completion of my first full set of Picatrix images: all seven planets as described by Apollonius. I’ve been thinking about that fact all week as I’ve wound up to finishing the image and writing this post, but I think I have a bit of processing to do before I say more.
Now, finally, what are the magical uses of this image?

Modern magicians emphasize the wealth and abundance aspects of Jupiter, and those are absolutely present in the Picatrix:
“Entreat Jupiter for the accumulation of wealth…” (Book IV Chapter 4, Para 6)
“Jupiter [is the substance of] the power of increase” (Book IV, Chapter 4, Para 55)
More, though, the Picatrix speaks of Jupiter of the planet by which one extracts justice and favor from rulers, and for spiritual pursuits. Health (physical and mental) and safe travel also get honorable mentions.
“… the benevolence of Jupiter is appropriate to the works of clergymen, kings, and lords” (Book 2 Chapter Three Para 5)
“Jupiter is the source of growing power. He governs an aspect toward law, legality, jurisprudence, and the ease of acquiring requests, reparations, and restraints. He guards against mortal illness. He governs wisdom, philosophy, and the interpretation of dreams. … Among the crafts, he governs ruling, jurisprudence, and selling pristine merchandise.” (Book 3 Chapter 1 Para 4)
“Jupiter is the author of life and the sciences. Laws, treaties, and judgements proceed from him.” (Book 3 Chapter 3 Para 33)
“Entreat Jupiter for … the enhancement of dreams, the pleasure of escaping sadness, the leaving behind of toil and quarrel, and safe journeys by land or sea.” (Book 4 Chapter 4 Para 6)

In art, witchcraft

Devotional Image of Hekate as Chthonic Sun

Satyr Magos14/02/202614/02/2026

Hekate! Soteira! Chthonia! Helia!

Behold, Hekate as the Chthonic Sun. Justice and oathkeeper of the underworld.

I don’t know, precisely, what it means. I need to be clear on that from the outset. To the best of my knowledge, there is no historical precedent: Hekate is not descended of Helios, like the other great witches of Greek myth (Pasiphae, Circe, Medea). She is traditionally associated with the light of torches. Traditionally, she is sister to or even synonymous with the moon. But she is also Ourania: heavenly. And she is the the lightbearer: Phosphorus.

This epithet and its accompanying image first appeared to me during my morning ritual some time in January. I wish that part of the operation made a better story, but not all mystic visions come amidst lurid ecstatic rituals or in a drug-induced haze (most of mine don’t, honestly, which is both a relief and a disappointment). I stewed on the image for a couple weeks before I produced the first pencils, which I am still extremely pleased with. A few days later, I redrew the image on watercolor paper. I inked the image the night of the Full Moon, and have spent the last week applying watercolors over three sessions.

Artistically, this image was very much a series of experiments. I rarely re-draw anything after I’ve been as pleased with the pencils as I was with this, but the first draft was in my sketchbook and I needed it to be on watercolor paper. I’ve played around with watercolors a little bit, but not in years. Most of the color scheme was planned from the beginning, but the lavender robe was a very last-minute decision/inspiration. (I also considered pale blue, and almost left it paper-white.) I was not at all certain that I’d gotten my order of operations right – should I have done the watercolors between the penils and inks? After the black lines but before the gold? But the gold held up to the watercolor beautifully, and while I did ultimately decide to repaint the gold on both suns, I only needed to touch up a handful of the radiating gold lines, and ultimately found that layering of color and texture to be exactly what the image needed.

The scan obviously didn’t capture the metallic gold ink the way I’d like; it washed out the background a little, and almost completely ate the purples and greens. Strangely, it also increased the saturation of her lavender chiton. I may yet fuck with that. I still plan to digitally ink the scan of the original pencils, and may well do another watercolor and ink version, as well, just to see if I can do it better. Eventually, I’ll either mat or frame it for my altar. Some day, I might make them for sale. For now, though, I think I’m just going to bask in how well this turned out.

For those wondering about the Greek words around her, they are (going clockwise from the upper left): Hekate, Soteira, Kthonie, and Helia. The last (with the final eta rendering into English as an “a” like Athene -> Athena), for those who haven’t studied Greek, is a slapdash and technically unnescessary but probably not wrong feminization of Helios, which yes is the name of the Titan but also just the Greek word for “sun”.

Finally, it would be inappropriate to post this without linking to the art of Micah Ulrich, whose art so obviously influenced my composition.

In art, witchcraft

Image of Venus According to Apollonius

Satyr Magos23/01/202616/01/2026

The image of Venus, according to the opinion of the wise Apollonius, is the shape of a woman standing on her feet and holding an apple in her right hand. This is her shape.

– Picatrix Bk 2, Ch 10, Para. 26 trans. Attrell & Parecca

Modern magicians overwhelmingly use Venus to bring love, and that is absolutely in her wheelhouse: “Entreat Venus for the union of desires, the power of causing joy and friendship, driving out idleness and grief, for invigorating the appetite, augmenting procreation, multiplying sons, extinguishing fires, and remaining secure from animals.” (Book 4 Chapter 4 Para 8)

She also governs the arts: “She governs an aspect toward grammar, the art of poetic meter, sounds, and songs. … From the crafts, she governs all the skills of painting, illustrating, selling perfumes, playing instruments pleasantly, singing, dancing, and producing harmonies with instruments.” (Book 3 Chapter 1 Para 7)

My first astrological image of 2026, and my sixth of seven images “according to Apollonius. I’m really very pleased with how it’s turned out. I love her facial features, and the texture I was able to convey in her hair. I think I did a great job of making her fat and hot.

Even more than my other planetary images, it’s important to me as a politically conscious artist that at least one of my images of Venus be explicitly Black. When I picked Venus as my next Apollonian image to finish, I decided that there was no time like the present. I had originally wanted her costume to be much more clearly African-inspired, but I struggled to find inspirational images attatched to such basic information as, “who and where in Africa designed or wore or wears this”. So for this image I settled on a big cloth that reads somewhere in between a Hellenistic himation, in line with the vaguely Graeco-Roman vibes of most of my images, and the wrapped cloth I’ve seen both tribal and urban Ghanans wear. If I ever do this in color, the cloth will be bright yellow-orange and have my best simplified approximation of the vivid, intricate, and colorful patterns for which West Africans, in particular, are known. I wish I knew how to better convey Black skin in a black-and-white image, like this. That’s obviously going on the research list, along with traditional and modern African fashions.

I might go back and dial up the details and the shading, but my hands hurt like fire and I’m really, really pleased with this as-is.

In art, scholarship, witchcraft

Image of Saturn According to Apollonius

Satyr Magos27/12/2025

Behold, my latest astrological image, Saturn According to Apollonius!

“The image of Saturn, according to the wise Apollonius, is the shape of an old man sitting erect on a tall throne. This is his shape.” Picatrix Book II, Chapter 10 Paragraph 12 (Attrell and Porecca, 2019)

How do y’all like that crown? I feel like it belongs on the cover of a heavy metal album.

This image was an interesting technical challenge in that it’s basically the same as Saturn According to Picatrix except without the theriomorphic elements. and specifying “erect on a tall throne”. Behold, he sits erect. Behold, his throne is tall. And I gave him an orb to ponder, both because it brings a little bit of a sword-and-sorcery vibe to the illustration and to represent the worldly power he wields.

Overall, I’m very pleased with this piece. There’s a lot of little elements that didn’t quite turn out the way I wanted (go ahead and zoom in on at that fuckin’ hand that h olds the orb, and the way the fur collar interacts with the texture of the throne), but which will be invisible at the intended print scale, and one of the things I’ve been working on this year is just … letting that go and letting the art do what it needs to do. Really the only thing I’m unhappy with is that I didn’t get it out a week or two ago, and that is 100% because of Christmas depression.

As with my other “mainline” Picatrix images, this one is good for all things Saturn. It is superior to Saturn According to Picatrix in that only people with extremely suspect taste in men will find this one cute (a complaint that I saw on my crow-headed image), but for my own part I will always prefer the theriomorphic images.

Modern magicians call upon Saturn to set boundaries, build long-term / generational wealth, and to destroy their enemies.

The Picatrix says that, “Saturn is the source of retentive power. He governs an aspect toward profound knowledge; the science of law; the search for causes, effects, and the origins of things; the utterance of magical words; and the knowledge of deep and occult properties. … From the crafts, he rules working the soil, plowing, digging, extracting and working minerals, and the building trades.” (Book 3 Chapter 1 Para 3) and to “Entreat Saturn for delaying movement, concealing purity, destroying cities, humbling hearts, and calming waters.” (Bk IV Ch 4 Para 5)

Thus, Saturn is a fantastic patron and ally for witches and magicians of all stripes. Recall that it was the archangel and ruling spirits of Saturn that provided me with the triangle of conjuration that I use to this day.

As always (though I don’t always remember to remind you), a high resolution version of this image is available on Patreon. If you respect and enjoy my work, please consider supporting me there, or by dropping a tip in my Ko-fi cup.

In art, witchcraft

Visions of Gods and Powers, Attested and Otherwise

Satyr Magos26/12/202519/12/20252 Comments

The image above is one of my first attempts to illustrate the gods and spirits I have encountered in my conjurations and explorations. I didn’t date it, so I can’t say exactly when it was done, but based on the sketchbook I found it in, and what immediately preceded and followed it, I think that this was from the Sunrise Temple period – that is to say, college, when I was still doing really intense visionary journey work and just having my first successes at contacting planetary powers – but it may have been from my first year or two back in Kansas City, after that.

The figures in the image are the Lunar intelligence(s) as they appeared to me when I made my one of my first spirit journeys to the Sphere of the Moon. I don’t know why they have (almost) always appeared to me as two spirits, unless it’s just that I took that from Agrippa’s dual-seeming sigil the intelligence of the Moon and of the spirit of the spirit of the Moon (the latter, below, being a pair of glyphs and a notion that i found repeatedly stated but never really discussed back in the day but can’t find reference to now). Nor do I know why the one figure is asleep but ithyphallic.

The next page in the sketchbook, from that same time period, is of another power, first seen a year or two (i think?) before I began my ceremonial experiments. I met her on several of my visionary journeys. She sheltered me against enemies and taught me some of what I know about navigating the Underworld.

The drawing is tragically incomplete, but it does its job. Having found this page back, I am strongly moved to return to the Underworld and re-establish this relationship, finish this drawing, and perhaps share some notes on the use of that sigil.

Honestly, I had completely forgotten these early experiments in occult art. I remembered my first masks, from 2009/10. I remembered some of my magical art plans and schemes from the late Oughts, and some my first magical self portraits from the Sunrise Temple. I remember drawing my first Picatrix image in that same time frame. But these, I had forgotten.

It’s interesting to look back on them now. For one, my illustrations are consistently better than these, now, which is nice because I often feel like my older art is better than my newest. Looking at these two, in particular, you can really see my anime roots, especially the proportions and head shape.

Later in the same sketchbook, I found more images drawn as part of my first rounds with The Seven Spheres. I feel certain that I talked about them on the Obsidian Dream Blog, but I can’t find that post back at the moment. Patreon makes sharing multiple images in the body of a post really obnoxious, so I’ll only repost a couple of my favorites, here:

The Moon and Venus, respectively these images were drawn in-circle after conjuring the planetary powers and asking for a vision.

At the same time I was doing some of the images above, I was also illustrating icons like this image of Dionysus:

and of Thanateros

My most recent magic, though, and the art I’ve done about it, has all been much more … formal. That has its advantages and disadvantages, honestly. Working from the spirit-portraits in the Picatrix, I have a source to point back to, a common ground on which my audience and I can both stand. Moreover, many of my most recent works have been some of the best drawing that I’ve done this year, which is (again) definitely not the case for the Spirits of the Spirit of the Moon and the Queen of Endless Water.

These older works are more raw, the spirits in them unattested. They also have a vibrancy and authenticity that some of my more recent images (I’m thinking, particularly, of 2023’s Image of Mercury) lack.

Once upon a time, I was a fairly prolific blogger. I shared my monthly full moon readings, and the visions I conjured at full and dark moons. I liveblogged years of experiments in chaos magick and planetary conjurations.

These last few years, I haven’t had as much to say – in words – as I would like to. Partly, that’s been the depression and the burnout and the crisis of faith that kicked off in the summer of 2023. Partly, though – and I haven’t really wrestled with this like I should, yet – it’s that I’m at a stage in my magical, spiritual, and mystical development where the things I see, the messages I receive, are really just for me and about me. As uncomfortable as it makes me, sometimes, I am deep in the Mysteries.

Somehow, these old images – these early attempts to communicate the ineffable – are a welcome reminder that creating magical images is not some weird side quest, some distraction from my real work as a witch and scholar, but rather something that I actually set out to do. That which can’t be spoken or written can sometimes be conveyed in other ways. And, even if I can’t convey my exact experience, if I can convey an image that provokes or facilitates a mystical experience in someone else, that’s as good if not better.

Because the purpose of my occult writing has never been to establish myself as an occult expert with the answer to every question. The purpose of my occult writing has always been to communicate with my peers.

This is what I’ve seen. This is what I’ve done. This is what I learned. These are the questions I am left with.

Have you seen anything like this? Does any of this resonate with you? Does it inspire you? Does it encourage you?

And, more than anything else: please, share your experiences with those with the eyes to see and the ears to hear. Come, join me in the wilderness and the void.

I am very near to completing another set (or two) of Picatrix planetary images. When I have done so, hopefully in the first months of 2026, I will almost inevitably move on to Picactrix images of the Lunar Mansions and fixed stars and maybe even the Zodiacal constellations. I also hope to resume making icons (and start making idols) of the gods to whom I have burnt and poured out so many offerings. And I hope that I will find the strength and courage to resume my explorations of the astral planes and underworld. And I hope that, in doing so, I will find the courage and the inspiration to resume my portraits of the wild and unattested powers that I found there.

And, perhaps, in the midst of that work, I will find that I have something new to say, as well.

In art, scholarship, witchcraft

Image of Mercury According to Mercurius

Satyr Magos03/12/2025

“The image of Mercury, according to the wise Mercurius, is the shape of a man with a cock on his head, standing on a throne; his feet are similar to the feet of an eagle; he is holding fire in the palm of his left hand…” Picatrix Book II, Chapter 10, Paragraph 32. (Attrell and Porecca, 2019)

Behold, friends! My latest astrological image, and one of my favorites to date: Mercury according to Mercurius. The imagery doesn’t particularly call to me (I’m surprisingly un-mercurial), but I’m just SO FUCKING PLEASED with how this turned out. And, for a rarity, I’m equally happy with both the pencil sketch and the digital inks!

Like all of what I describe as the primary planetary images (the big block of descriptions in Book Two, Chapter Ten), it is my understanding that this image is good for all Mercurial purposes.

The picatrix says this of Mercury:

“The benevolence of Mercury is appropriate to messengers and scribes…” – Bk II Ch 3 Para 6

“Mercury is the source of intellectual power. He governs an aspect toward learning knowledge and wisdom, dialectic, grammar, philosophy, geometry, astronomy with its processes, geomancy, notarial science, the augury of birds according to tradition, and the interpretation of Turkish and other languages.” – Bk III Ch1 Para 8

“Mercury is the author of eloquence, rational intellect, and sense perception; from him proceeds the understanding of subtle and profound things.” – Bk III Ch 3 Para 33

“Seek from Mercury petitions appropriate to notaries, scribes, arithmeticians, geometricians, astrologers, grammarians, public speakers, philosophers, rhetoricians, poets, sons of kings and their secretaries, toll keepers, merchants, ministers, lawyers, slaves, boys, girls, younger brothers, painters, designers, and the like.” – Bk III Ch 7 Para 7

“Use Mercury when you wish to know, understand, and expel distraction; then your request will be fulfilled and flourish more easily.” – Bk IV Ch 4 Para 26