Take care to protect the painting side of the glass. What you’re looking for is a uniform glassy black surface. When the last coat is fully dry, put the glass back into the frame, unpainted side facing forward. Follow the instructions on using the pant, with the recommended drying time between coats. Once acquired, remove the glass and paint one side with several coats of flat black paint. For the current instruction you want the mirror to comfortably frame your face when placed about an arm’s length away, Bigger or smaller than that has proven less than ideal in practice. Rectangular frames are everywhere and they work equally well. While a round mirror has some tradition behind it, the effects that lead to good magic don’t depend on that so it probably isn’t worth obsessing over. The simplest way to make one is to buy a new or used picture frame with a glass coverlet. It was inspired by the works of Runyon & White, and Kraig, and further developed over years of practice.īlack mirrors are easily attained in the current market place, or can be constructed inexpensively. For the rest of us, the following step-by-step method is offered. Whether a formal technique is studied and practiced, or one learns by trial and error, a learning process is necessary for all but the rare few who come by it naturally. Ask the countless slumber party tweens who’ve played the Bloody Mary game.Īs a final thought, a black mirror or any sort of magic mirror, doesn’t produce magic of its own accord. Black mirrors are generally preferred to regular mirrors for magic uses, though many of the same effects can be achieved with regular mirrors given the right kind lighting. Mirrors are commonly used for divination, in glamour and beauty spells, truth spells (magical spying), and as a means of gaining insight into the underlying factors in play in a complex situation, just to name a few applications. There is wider acceptance for black mirrors as a general scrying device in the context of most any sort of magic practice. An image of the temple layout is also given in several of the source manuscripts, here in cleaned up modern graphics:īlack mirror scrying has proponents and detractors as a tool for Goetic evocation. The grimoire known as Goetia details the evocation procedures and lists 72 spirits, describing their origins and powers, and a spirit-specific seal by which each may be controlled. What is relatively unique to the Runyon/White/Kraig exposition of the technique was its specific application to Goetic Evocaiton, a type of Medieval magic defined by calling forth and commanding spirits, for self-development and/or to achieve practical goals. Kraig cited White in Modern Magick, but that book enjoyed much wider circulation than Secret Magic Reveled. Popularization of the technique in modern times traces more to Kraig’s book more than to White’s. It’s a fair bet that many contemporaries have and continue to use the technique without knowing about their work.ĭonald Michael Kraig and his important work, Modern Magick, bears mention here as well. While it’s fair to attribute the modern variants of the technique to Runyon and White’s work, the visual effects at the root of it are quite discoverable by dabbling with mirror magic. The technique was first described in a booklet called Secret Magic Revealed, authored by Nelson White and his Wife Anne. The two reportedly worked together in the 1960’s and 70’s. The black mirror facial reflection-distortion technique is derived from literature attributed to Carroll “Poke” Runyon and his affiliate Nelson White.
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