“Seth material” search engine (Jane Roberts)

[...] She works in brilliant simple colors, obtaining her effects with porous pens whose inks she can partially blend with water. [...]

[...] Dark ink or print. [...]

[...] It is printed in black on card stock, with the serial number in a light blue ink. [...]

[...] I used a black felt marking pen to make the drawing; this is indelible, and the ink soaked through the porous paper until the drawing is quite easily visible on the reverse side. [...]

[...] As stated earlier the stamp is printed in red ink with blue added. [...]

[...] It is written on yellow paper; the notations were made by a pen with the same color ink as those on the copy. [...]

[...] As stated the writing on the object is in blue ink. [...]

[...] See also my tracing on page 1. The card is on white stock, printed in black ink, with the handwriting in black pencil. [...]

[...] It is typewritten in black ink on paper the weight of this page, and white. [...]

[...] The kitchen is very small, but on the spur of the moment I used a brush and black waterproof ink to do a quick sketch of a tree on a limited space next to the windows. [...]

8. Strange — but recently I visually approached the idea of interrelated consciousnesses in two pen-and-ink drawings for Jane’s book of poetry, Dialogues of the Soul and Mortal Self in Time: I incorporated humanoid features on large rocks. [...]

She’s also done her first two colored-ink sketches, using one of the 4” × 6” watercolor pads I’d bought for her last year. [...]

[...] Ruth being a few years younger, her physical dimensions at that time would closely match the young girl I drew in my pen and ink sketch of the experience. [...]

(Last Thursday I finished the final pen-and-ink drawing of the 40 I’d planned for Jane’s book of poetry, Dialogues of the Soul and Mortal Self in Time.¹ I spent Friday checking the batch, then on Saturday morning I mailed them to Tam Mossman, Jane’s editor at Prentice-Hall. [...]

(The double envelope contained a simple line drawing I executed in black ink on ordinary white paper. [...]

[...] Briefly through those eyes I looked out upon twin rows of galley slaves … I described the scene and my feelings about it to Jane, and made small, full-face and profile pen-and-ink drawings of myself as the officer. [...]

[...] The features do not remind me of anyone I know, although there is a resemblance between them and a black and white ink- and-wash drawing I have for sale at the gallery where Jane is employed afternoons. [...]

[...] The beer can cap was enclosed within my folded note; the note was written on white paper in the same color ink used to make the tracings. [...]

As far as the ink sketch is concerned, do not forget that while your man was imprisoned by his senses, in trying to reach beyond them in your physical universe your man could not perceive anything at all; and yet it is through these very earthy senses that he has a chance to glimpse beyond, or indeed realize that there is a beyond to glimpse.

[...] Next comes the finished work for publication, which I’ll produce by placing a sheet of clear acetate over each guide, then rendering on that untouched surface the final version in “line,” or pen and ink. [...]