“Seth material” search engine (Jane Roberts)

[...] When you were doing commercial art you were utilizing some important aspects of creativity, though you were not matured enough to use them except in limited form.

[...] A Sumari is very uncomfortable as a member of any large commercial venture, particularly if the work involves habitual or boring routine. [...]

[...] Certain portions of that person, as you know, would have been satisfied with drawing comics, or doing certain kinds of commercial work. [...]

[...] At the same time you knew that once you did commercial work for money as a young man, quite happily. [...]

Now because of your latent (underlined) interest in the medical profession, you have sold to hospitals in the past, commercially and you have sold paintings to dentists. [...]

[...] The box was wrapped in a layer of brown paper tied with a red ribbon; the whole then inserted into another box, a commercial box from a store, in which a nightgown had once been placed.

When your art was commercial you could say, again, you were working. [...]

[...] You could have begun serious painting in New York, and if you had done so, you would have also continued and done well in commercial work.

[...] It is important that our books make their way, and as unhampered as possible by the commercial distortions that would automatically be applied by men interested in advertising a product.

The commercial weight-gaining liquid is highly contaminated, and should be avoided. [...]

[...] You went to school, became a commercial artist, and did very well at it. [...]

[...] Sportsmen make good money, so for this and other reasons you early turned to commercial art — a field in which artistic ability would be well paid for.

(9:47.) The idea of a simple job attracts you because it separates your ideas of art from money—but in order to content you it could not involve money at all, for even commercial art brings you to the matter of the artistic ideal and its practical presentation. [...]

[...] This room is part of a cottage that is joined to another cottage in the crowded Provincetown area, and both units are, actually, directly in back of a business establishment that faces on Provincetown’s main street, Commercial St. To reach them it’s necessary to use an alley around the business establishment. [...]

[...] I spent several years freelancing as a commercial artist in the Sayre, Pennsylvania area while living with my parents, Robert Sr. and Estelle (my father called her Stell). [...]

[...] Ed talked about moving with his family to New Paltz, a small community about 110 miles south, near the Hudson River; he might find commercial work there with a friend. [...]

[...] It was easy to look at signs and commercial art and paintings; they only knew that Jane wrote poetry and fiction, but never asked to read any of her work any more than we offered it to them.

[...] I helped out when I could after typing sessions, often doing commercial art at least part-time, and trying to paint. [...]

[...] Each of these has its own commercials or messages, which may or may not have anything to do with the programs given.

My art teacher in high school, Miss Bowman, had taught Tom Lantini also — and as she had loaned me money to go to commercial art school in New York City, so had she given Tom financial aid so that he could attend the same school. [...]

[...] Ed and I became acquainted first by mail when we were both doing free-lance commercial art work. [...]

[...] I repeat, however, that in this country no public citizen has been either seriously injured or killed in an accident at a commercial nuclear facility (as have a few workers).

[...] I will give you a commercial that is better than your Excedrin, you see, the short headache. [...]