“Seth material” search engine (Jane Roberts)

Now I am through with what I intended to say. You may end the session or ask any questions that you have. First give me one moment here. (Pause.) This is for you. (To me.) We will try to get it clear. Do not use sepia with too heavy a hand.

(“Why the comment on sepia?”)

(Pause.) I do not have our friend directly. This is something like a mental message meant for me. (Pause.) There is some reaction with sepia, that can lead to an unpleasantly or undesired purpling effect.

(This effect appeared shortly before vacation, on an experimental head in oil I was working on. Brown was one of the colors used, and could have contributed to the undesirable purplish undertone in the flesh. The effect cropped up before I was aware of it. I cannot be positive the sepia caused the effect without trying some deliberate experiments to see, but certainly it contributed.

(The oil head in question sits in my studio, still unfinished and has been seen by Jane often. One note of interest; technically speaking the oil colors I use contain no color named sepia, specifically, though, of course, a range of earth reds and browns are included. Sepia is a brown. The specific word sepia is more often attached to watercolors, as far as I know, than to oils. Jane also has used both watercolor and oil, as I have; and my watercolors do contain sepia.

Some further here with sepia—to achieve something different now, a sunny clear effect, a newness, a way of applying sepia with white; thin-layered, with a particular kind of varnish... (Pause.

(Pause.) It has a tendency to bring out the light tones of the sepia over the dark ones. Subdue the brown and bring out the light.

(Incidentally, Seth pronounced sepia as say-pia.)