“Seth material” search engine (Jane Roberts)

Now the energy can be best suggested by transparents, rather than opaques, for the opaques are too ponderous. The opaques can be used effectively to suggest the form, superimposed lightly over the transparent energy, but never with a heavy hand.

A good use of transparents in oils will make you more pleased with using them. Movement can be best portrayed also with transparents, and even for rocks. While opaques may be used to suggest physical heaviness, transparents should be used also to show that in actuality rocks are as light as air, and to hint at the ever-mobile energy that forms them.

Now oils themselves suggest the earth. The medium is a fairly natural one. Let the medium then stand for and represent the physical appearance of permanency in any object, the physical continuity of any given human form in a painting. Let transparents represent the constant renewal of energy that always escapes the form. These lift the medium itself into another realm, and the two together can suit your purposes well.

With oils again the transparents for the mobility and vitality that gives the form meaning, the opaques to suggest the idea of physical time, and to suggest the apparent (underlined) duration of form.

This is from an artist who always used siennas for initial flesh tones, with a suggestion very lightly of violets. Built up then cleverly with (pause) transparent ochre which he had, and a particular green, muted. The top complexion tone lay on this lightly, as if a wind could blow it away, and of course he suggests this. (Long pause.