It’s always something of a question as to whether to let someone look behind the curtain at your creative process. It’s messy back there–blobs of ink, half-formed words, trailing threads, and heavens forfend those dangling participles. Words themselves have been slippery fishes of late, and I find myself turning to solid crafts that satisfy my hands, like knitting, drawing, and beading.
Still, take for example the sigil crafted for Crow this month. You can get a pretty good idea of it from the picture at the head of this post. Yes, it’s still rough, but it’s showable, particularly for an article dealing with artistic process. Sigil work, at least as I see it, isn’t just the tracing of lines over a witch’s wheel. Sure, you can start there, but if there is to be any spark, any soul in the magical anchor, there has to be more than that.
To paraphrase Jason Miller, the most powerful sigils are the ones wrested directly from that Beyond space and brought into being on this plane. That jujitsu match is ugly. There are many false starts, no little dismay, and often a feeling that this sigil is always going to look like crap and there’s nothing you can do to tell it otherwise.
This is where a child comes in handy. Inner, outer, literal or metaphorical–let the kiddies out to romp.
Stop wrangling and start playing. Tussle, cross things out, let colors cohabit that would make Andy Warhol wince. Sigil crafting is a protean art. Hold onto it too tightly and Awen slows to a trickle, left with nothing more than a madwoman’s scrawl across a restaurant napkin. Let go and see the lines swell with color and form, twisting around your mind until you know there is no other way for them to be.
It sure as hell ain’t pretty, but it’s process.