“Seth material” search engine (Jane Roberts)

(I explained now to Jane that the material tonight was very good, and that I hadn’t given her clues to it, etc., especially as regards the color experiments, characterization, the full-figure work, the essentials required for drawing the full figure convincingly, etc. She did know about my plans to do full figures, however.

You will be giving life and vitality to the stock human figure that is often used, so that the hands are as alive as the face, and the figures seem caught in motion, begun but never completed.

You have begun to appreciate the workings of your psychic self in your paintings, but you are only beginning. And yes, the entire figures of your people will also emerge, both in movement and repose, and you will be surprised, again, at how well the characterization will show itself through the gestures and even folds of the cloth.

When you become involved in the figure work however, make sure that you allow yourself special freedom in the area of the upper thighs.

[...] The busts rather than full figures, as three heads for example. (Pause.) I only see the tops of these figures.

(“A geometrical figure.” [...] Also—are circles, regarding the postmark itself, geometrical figures? [...]

[...] The busts rather than full figures, as three heads for example. I only see the tops of these figures.” [...]

(Question: “What’s that about a geometrical figure?” “No. [...] All of the geometrical figures on the back of the object are balanced—the circular postmark, the small triangle and square just above and to the right of the postmark, and the rectangle of the postage stamp.

[...] You want the force that feels the form and so the figure must indeed dominate the painting, as the force within must fill and move within the figure itself. [...]

[...] All of these issues are a part of your painting, implied in every line of its conception, but I want you to see consciously the implications of the figure, and the overall implications of the figure in context with the background.

The power must fill the image, and the image then fill the painting so that the very force of the figure seems hardly contained within it. [...]

[...] She felt the background in the projected painting as being alive, she said, with the figure being the important thing and materializing out of the background, while yet a part of it .

[...] You should hear voices and see a figure on the horizon... let the figure come closer... [...] Relax and let the figure come to you.

When the figure comes closer let him speak first. [...] If you develop properly you will understand when the figure speaks. The figure is a person you have known who will help you in your own endeavors... [...]

When this meeting takes place you will know how to proceed, and the figure will indeed be three-dimensional in this mind image of which I am speaking. [...]

[...] Do not strain if for a while you see a dark figure and the horizon... [...]

(9:46.) Your Christ figure represents, symbolically, your idea of God and his relationships. [...]

[...] These three figures worked out a drama, highly symbolic, propelled by concentrated energy of great force.

[...] The twelve, therefore, plus Christ as you know him (the one figure composed of the three) represented an individual earthly personality — the inner self — and twelve main characteristics connected with the egotistical self. [...]

[...] The God-personified figures first were introduced to man in the dream state, and the way then prepared.

[...] I also had trouble figuring out the right size to make the figures in the oil—nothing was going right, and after a while it was only too obvious that my subconscious was raising hell about the whole project.

[...] You think of the old masters for example, the figure work. [...]

[...] (True.) This sort of a painting however, that uses figures or objects, but not in representational form, bothers you, while you are strongly attracted in sketches of the same nature. [...]

[...] To some extent you carried this with you, so that objects or figures not painted correctly, in those terms, should be fixed. [...]

(I told Jane that I didn’t think I’d figured out very much of it, beyond that I seemed to be remaking the past, and that all of the figures in it except her seemed to be figures of authority from that past. [...]

[...] a young woman, the full figure, sitting facing me in a straight chair. [...]

[...] I did not see a human figure.

([Theodore:] “Does she have to go by the two unfriendly figures to leave and reach the light?”)

[...] There’s only one figure out in the wheat field that she doesn’t want to face.”

[...] She gave me a lot of figures I only partially understood. [...]

(“I figure on calling Pete tomorrow morning and telling him about today’s events, but I don’t want to change probabilities by dwelling upon them. [...]

[...] I’m to mail him all the forms and figures I got from Kim Evans. [...]

[...] Figure out James intro, etc. [...]

[...] I figured there was a reason I was thinking about her this morning so definitely. [...]

Once more, it is extremely important that Ruburt keep his mind on his goals, and not burden his conscious mind by trying to figure out circumstances and conditions that are best handled by the infinite intelligence that is within his own subconscious mind. [...]

[...] On her part some connection with mathematics or figures, or a liking of figures. Are these figures or figurines? [...]

[...] The male figure however represented the fact that he believes that strong muscular motion is a male characteristic, and not one that he feels belongs to mentally oriented males. [...] Here indeed he saw a symbolic representation of Ruburt—not one that could be physically materialized with his bone structure as a woman, but a figure of idealistic physical proportions that also possessed great mental faculties to match.

[...] The silver figure is the other end, the other pole, of the ape. [...]

[...] Whether an artist painted saints or apostles as heroic figures, as ideas embodied in flesh, or as natural men, he commented on the relationship between the natural and the divine.

In a fashion, those stylized figures that stood for the images of God, apostles, saints, and so forth, were like a kind of formalized abstract form, into which the artist painted all of his emotions and all of his beliefs, all of his hopes and dissatisfactions. [...]

[...] As a result, one you see in art particularly, man became a heroic figure, then a natural one. [...]

[...] One of the first dated European woodcuts, showing a religious figure, appeared in 1423; a book bearing woodcut illustrations was produced circa 1460; the first Roman book containing woodcuts was made in 1467. [...]

(“Some figures.” [...] Also on the page 11 side of the object can be seen portions of two female figures—a foot, and the hemline and knees of another model. On the full page 11 are the figures of five women, modeling new styles of fall coats. [...]

[...] Some figures. [...]

[...] It concerns the fact that we are buying a set of dishes of our own at Loblaw’s supermarket; Jane said she was determined to get a set of dishes adequate for our needs. The disadvantage however is that obtaining the set in this fashion is much more expensive than she had figured on.

[...] Nor are there any $19.61 prices on any advertised items, or sizes of that figure, on either the item itself or the full page.

[...] I saw the figure on a sheet of bluish paper that unfolded like a letter. [...] I told myself that the figure I’d been given in the dream was much too high. [...]

[...] Quite naturally, it seemed, I now realized that I was seeing a robed figure standing in a doorway, just beyond Jane’s right shoulder as she faced me seated in her rocker. The figure was perhaps three feet tall, standing facing me but with the light coming from the doorway behind so that the face was in shadow.

[...] I became aware that another figure was seated at a table just in front of the robed figure, with its head, also shadowed, turned toward the robed one. [...]

[...] I haven’t said anything about being a writer… they might figure I don’t need the work… think that it’s full-time though and briefly wonder how I could handle that with writing.

[...] Then I became disoriented, and couldn’t figure out if I was in bed or in my chair. [...]